Russian Chalice Hillwood Estate Washington DC | WASHINGTON D.C., Vereinigte Staaten – Ein russischer Kelch aus Gold und Diamanten aus dem Jahr 1791 steht in der Sacred Arts Gallery im Hillwood Estate, Museum & Gardens. Katharina die große beauftragte das Werk des Juweliers Iver Winfeldt Buch und überreichte es dem Alexander-Newski-Kloster in St. Petersburg zum Gedenken an Grigori Potemkin; es zählt heute zu den besten Objekten in der Sammlung russischer Sakralkunst von Marjorie Merriweather Post.

• Bildanbieter: David Coleman | Have Camera Will Travel
• Bild-ID: RDP2G0
• Dateigröße: 90 MB (6,7 MB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 6867 x 4583 px | 58,1 x 38,8 cm | 22,9 x 15,3 inches | 300dpi
• Aufnahmedatum: 16. August 2018
• Ort: Forest Hills, Washington, District of Columbia, United States

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A gold chalice dated 1791 stands at the center of the Sacred Arts Gallery at Hillwood Estate, Museum & Gardens in Washington, D.C. Catherine the Great commissioned the piece from the jeweler Iver Winfeldt Buch and presented it to the Alexander Nevsky Monastery in St. Petersburg in memory of her former favorite and statesman, Grigory Potemkin. The chalice is decorated with diamonds, chalcedony, bloodstone, nephrite, carnelian, and cast glass, reflecting the imperial jewelry workshops of late 18th-century Russia. It forms part of the Russian sacred arts collection assembled by cereal heiress Marjorie Merriweather Post, who gathered much of her Russian material while living in Moscow from 1937 to 1938 as the wife of Joseph E. Davies, then U.S. ambassador to the Soviet Union. Post's icon collection, displayed nearby, is regarded as one of the finest of its kind in the United States. Hillwood Estate, Museum & Gardens occupies 25 acres (10.1 hectares) in the Forest Hills neighborhood of Northwest Washington, bordering Rock Creek Park. The 36-room mansion was rebuilt for Post between 1955 and 1957, and after her death in 1973 it passed briefly to the Smithsonian Institution before returning to her foundation and opening to the public in 1977. Photograph by David Coleman.

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