yacht watercolor

Michele Clamp Art

Watercolor paintings, tutorials, and videos

Watercolor Boat Painting Tutorial

Want to paint this watercolor boat painting? Follow the step by step instructions (including video at the end) and see how easy this can be!

I just can’t resist painting boats in watercolor. The colors, the details, the sun and shadow – all come together to make painting these watercolor boats so much fun. In this watercolor boat tutorial I break down all the steps and show you how you can paint this scene. Boat watercolor paintings can seem daunting but if you take things slowly it’s amazing how they come together.

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Watercolor materials needed.

• Mechanical pencil
• Watercolor paper (I like Fabriano Artistco 140lb cold press)
• Permanent rose
• Vermillion/pyrrole red/naphthol red
• Ultramarine blue
• Cobalt blue/cerulean blue
• Yellow ochre
• Lemon yellow
• Burnt Sienna
• Value Scale
• Color isolator
• Palette/paper towels/water pot
• Small spray bottle of water

Watercolor Boat Drawing

The drawing for this painting is pretty important. Sometimes I won’t put much detail into a drawing and just indicate the main shapes. For instance a landscape with trees can be pretty sparse in the drawing. All the detail and texture goes in by eye with just paint. But for this scene there is a lot going on and we want to indicate the position of a lot of different things.

Using a Grid Helps With Drawing Accuracy

I did this drawing by eye but, if you’re not confident with your drawing, you can grid up your paper lightly with pencil and draw it square by square. That way you can be sure you’re getting everything in the right place. It’s not a foolproof method but it gives you far less room for error. I’ve included a gridded up version of the reference below.

The aspect ratio of the photo is the same as for a 10″x14″ piece of watercolor paper. If you mark your paper into quarters on each side and join them up to make a 4×4 grid you can transfer the drawing more easily onto your paper.

Take Some Time to Make a Plan for Your Painting

Before we dive into the painting it always helps to take a few minutes and plan out what you’re going to do. It can be hard to do this – we want to jump straight in and get those brushes moving and paint splashing around. But a few minutes thought at the start always makes for a better painting. We can spot possible problem areas and make sure we know roughly how we’re going to proceed.

Which Direction is the Light Coming From?

I first make note of where the light is coming from and where the shadows fall. In this case the sun is on our right and the shadows are falling on the left. This is always good to keep in the back of your mind. If the reference is unclear in some areas you can work out how the lights and darks should fall even if you can’t make it out from the photo.

Where are the Lights and Darks?

The next thing I do is note where my lightest lights are and my darkest darks. Once we’ve located these then we know that everything else has to fall somewhere between those areas. In this case our lightest light is the white hull on the left boat. The darkest darks are in the shadow underneath the boats and possibly inside the cabins. I keep this in mind. Nothing else can be darker or lighter than these areas.

Where are the Main Shapes and Values?

This one is trickier but it pays off giving it some thought. Even though there’s a lot of detail going on in this photo I like to break it down into 4 or 5 main value shapes. In this case I would estimate (or measure using our value scale) the value of the following areas

• The hulls of the boats (in light and shadow)
• The cabins of the boats (in light and shadow)

This may seem like a lot to work out ahead of time but getting those big value shapes right is an enormous help getting a scene to hang together and getting it to be convincing.

Identify a Few of the Colors

Doing some test mixes of a few of the main colors can also be a good idea. It’s much easier to do this before the painting. When you’re in the middle of the painting there’s so much going on it’s hard to stop and think about this. It’s a bit like prepping for a recipe. Getting all the ingredients measured out ready ahead of time makes putting a meal together much easier. (Not that I ever really do that – but I should!) In this painting I mixed as I went along but it’s a better idea to try out your color mixes at the start. If you think you can’t remember how you mixed your colors then putting a pencil note next to the swatch is a good idea. It’s doesn’t have to be anything complicated – just a list of the colors is enough.

Watercolor Boat Painting – Finally we Paint!

So let’s start painting. We’re going to paint this in layers and build up the painting from light to dark. We’re first going to block in all the shapes with their lightest colors. Once those are dry we can go back in and add in the darks. This way of working takes a bit of getting used to. As we’re starting with the light colors of all the shapes things won’t start to look three dimensional until quite late on in the painting.

I have many more step-by-step tutorials and videos!

We want things to look flat to start with..

If we put in too much value variation in the early stages then the darks won’t make as much impact when we put those in. In these early stages try and match the color and value as best you can to the reference. And, most importantly, keep these early washes even. Don’t be tempted to try and make things look right at this stage. It takes a bit of faith but once you get used to it it will all make sense.

Keep Going With the Light Values

Keep going across all of the main shapes of the boats. One thing to remember is that we’re putting in the light value of each different shape but these values may vary from shape to shape. For instance, the hull of the red boat is a bright orange-red in the light. The actual value of this is around a 5 i.e. mid-way down the value scale. If we compare this to the beige area above we can see that it’s a little darker. The beige area in the light is around a 7 but it’s still in the light.

Similarly the red stripe on the left hand boat is around a 4 (i.e. darker than a mid-value) in the light. If you have a value scale and a printout of the reference you can measure the values directly. If the color is distracting (and it can be with bright colors like these) squint your eyes and it becomes easier to judge value.

Use the ChromaMagic Tool to Measure Color

Alternatively you can load up the reference in ChromaMagic and click on different areas. It will show you the three components of the color – hue, value and chroma. The color notation is part of the Munsell way of measuring color. It is incredibly useful in painting and makes color very straightforward to analyze.

Paint in the Sea in the Background

The sea in the background goes in next. This is a fairly dark blue and helps to tie the boats in the scene and give us some depth.

As you can see at this point the painting isn’t looking three-dimensional. Don’t panic! This is exactly how it should be looking at this point.

Paint in the Sand Around Your Watercolor Boats

Next we’re going to put in the sand. I really like this bit as we get to put in some texture with our spray bottle. One thing to be careful of – sand isn’t yellow. Or rather it is yellow but a very grayed out low chroma yellow. In this scene it’s a kind of beige so make sure you add in some black to your mix to take out some of the brightness. I’ve made the mistake of painting sand far too bright in color many times. Again mixing a swatch of color beforehand helps a lot as does using ChromaMagic for checking the chroma.

Use a Spray Bottle to Add Texture

While your sand wash is still wet take a spray bottle of water and lightly spritz the surface. If the paper is the right level of dampness the water will add small sparkles and splodges in the paint. It adds some interest and texture to the foreground. This can take a bit of practice to get right. If the paper is too wet the water will just disperse and disappear. If the paper is too dry the water won’t do anything at all.

Watercolor Boat Painting – Add the Sky

Note: I’ve got the order slightly wrong here. I’ve already put in some of the darks on the boats before doing the sky. The order doesn’t really matter. You can put in the sky before the shadows and everything should work out fine.

Let’s put in some sky now. The reference photo doesn’t really have much in the way of clouds and I didn’t really want a big expanse of blue up there. So I’ve invented some cloud shapes. You have a lot of freedom here. Put in some blue around wherever you fancy the clouds to be. While the paint is wet take a clean (very clean) damp brush and soften the edges of the clouds. The blue pigment will diffuse out into the damp areas of paper making lovely soft and convinving clouds.

Watercolor Boat Painting – Second Layer Darks

Now this bit is where the painting starts to come to life. We’re going to put in the shadow sides of the objects and make them look three-dimensional. Adding in these contrasting areas also helps the visual impact of the scene and it will make the image more interesting as well as more realistic.

Don’t Add Color in the Light!

We’ve already painted in the light sides of our objects so we won’t be putting any color in there at all. We’re just going to paint in the shadow colors on mostly the left sides. Make sure your colors are at least a couple of shades darker than your light sides and things will start to take shape. When you get to the insides of the cabins we’re even darker as very little light is getting in there – you don’t need to paint things – just a few dark shapes at different angles will suggest a lot of detail.

Be careful with the shadow on the white hull. We don’t want to go too dark here and keeping that shadow light will really suggest strong sun.

Add a Cast Shadow to Anchor the Boats to the Ground

Finally add some cast shadows on the sand and right at the bottom of the boats. This will make the boats convincingly anchored to the ground.

The Magic Bit – Details on Your Watercolor Boat Painting

By this point you should have something that’s looking pretty three-dimensional. This next bit really adds sparkle and interest to your watercolor boat painting! We’re going to put in some lovely details. Put in the masts and rigging with a small synthetic brush. Make sure they’re not too dark – a mid value gray is plenty dark enough here. The other thing to take care with is not to make your lines too continuous. Leave a few gaps here and there as it will make the masts more convincing than if you carefully paint them in one continuous line.

Continue with the masts and smaller details. Add in a few lines for the railings and the ropes holding the buoys. A few light lines on the white hull will also suggest their structure. I hope everything is looking really good by now!

Flags and Signs

We’re right at the end now. A few red marks for the flags will add a pop of color. The signs on the boat go in with an almost black background. The lettering is suggested with a little opaque white.

Final Thoughts on This Watercolor Boat Painting

If you tried this painting I hope it turned out well. I would love to see your results – please feel free to send them to me. I have also videoed the whole process and you can paint along with the full painting.

2 thoughts on “ Watercolor Boat Painting Tutorial ”

Hi Michele, Kathy Martinez here. I am working with the ColorMagic tool. Love it except for one problem I am having. My monitor is a Cintiq 32 inch display that I have supposedly color corrected with an i1 display gizmo. The colors for the Munsell chips from

Kathy your program don’t come through to match my big book Munsell chips. It is way off. My cintiq screen pretty matches my Ipad. Do you have any suggestions? I have just been finding the chip I have that matches the color swatches from ColorMagic, even though they aren’t the same as described in the program.

Hi Kathy – I replied by email. I was thinking that it may well be hard to match chips directly to the screen. I’m going to try with a setup that I know the colors off and see how it goes. ColorMagic will report the colors in the photo accurately but whether you can match to the display directly may not be possible. Screens give out light and chips only reflect the light so comparing them side by side is going to make the chips always look dark. But maybe there’s something else going on! We’ll see. If it’s fixable we’ll fix it.

Comments are closed.

10 Sea Watercolor Painting Tutorials for Beginners

For a few months I have been living in Spain by the sea, so daily I love to go on walks and see the sunrises and sunsets. Just pure therapy for me. This has inspired me to level up my art skills in painting the waves and the ocean. 

It can be sometimes difficult to find the best tutorial to follow along that is foolproof and newbie friendly but these are my personal top 10 favorites for you to follow along with me. I am personally now on a drawing challenge that you can follow along on Tik Tok here, where I share my progress. 

These tutorials will help you improve your skills and inspire you to create art further.

1: Seascape with YACHTS

This looks like such a professional artwork, but trust me it is not. I have tried it myself and fell in love with it. If you do not have making fluid, do not worry, you can use white gouche or acrylic for the desired effect. 

2: Loose Watercolour Sea Practice

Learn how to paint a beautiful sea with seagulls. I love the combination of techniques and how it is easy to follow along and create a painting that won’t give away that you are a beginner. 

3: Loose Watercolour Sea Sunrise

Sunrises are magical and surreal. When I get a chance, it is literally my hobby to wake up early and meet the sunrise. Follow along this loose watercolor tutorial to learn how to paint a beautiful sunrise in watercolor for beginners. 

4. Devon Beach Watercolor Seascape

This is a tutorial of how to paint the sea. It is Devon Beach, have you ever been there? This is such a simplistic sea scene yet very accessible to copy for anyone. 

5. One Color Stormy Sky and Seascape

Stormy weather is beautiful to paint. It is when you can be the most expressive you that there is. Yes calm weather is lovely too but I feel like you can be more creative with the weather like that. 

6. Romantic Beach Sunset Scene

Romantic walks on the beach together? I love them so much so when not try to paint one for yourself. It is so simple yet so effective as a result. 

7. Wet in Wet Sky & Seascape Watercolor

Wet in wet might seem a simple technique, but when it is explained well that is when your work transcends to the new level. Paint this couple on the beach in the technique. 

8. Loose Seascape with Seagulls

Less is more. That is sometimes what can make your work professional or beginner like. Follow along this tutorial and master the art of simplicity.  

9. Breaking Waves Sea Tutorial

Breaking waves are so beautiful, yet can be tricky to know how to paint them in watercolor. There are special techniques that will make them look very effortless and beautiful. 

10: Simple Sea Landscape

Sometimes all you need is a simple sea landscape. This tutorial covers everything from painting the sea with waves to the stones on the beach. It shows a variety techniques to help you master the tutorial. 

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Watercolor Sailboat

Jenna .

This week, I'm teaching you how to paint a quick and easy watercolor sailboat landscape!

When I don't have a lot of time or I just want to play with colors and basic shapes, I paint loose-style. It's just whimsical and fun!

This watercolor sailboat takes less than 10 minutes to paint but includes simple techniques to inspire and spark creativity. This is a great tutorial for beginners, too!

Watercolor Sailboat Step by Step

00:00 – Intro. 00:32 – Color mixing. 01:06 – Painting the sail boat. 02:16 – Painting waves. 03:01 – Painting trees and background. 04:53 – Painting the sky. 06:14 – My thoughts on the painting. 06:51 – YOUR thoughts?

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How To Paint Boats In Watercolor

Miscellaneous, how to paint boats in watercolor: simple rowing boat, step 1: initial sketch, step 2: painting the first wash, step 3: painting the background, step 4: painting the boats, step 5: foreground boat & cast shadows, step 7: adding foreground texture, step 8: foreground foliage, step 9: final details, watch the video, materials list.

Ultramarine Blue: Winsor & Newton | Daniel Smith Dioxazine Purple: Winsor & Newton | Daniel Smith New Gamboge: Winsor & Newton | Daniel Smith Burnt Umber : Winsor & Newton | Daniel Smith Paynes Gray: Winsor & Newton | Daniel Smith Alizarin Crimson: Winsor & Newton | Daniel Smith Cadmium Red: Winsor & Newton | Daniel Smith

Rigger Brush (For thin tree branches etc) Bu y from Amazon 1″ Hake Brush Buy from Amazon Synthetic Squirrel Flat Brush Buy From Amazon Princeton Synthetic Kolinsky Mop Brush Buy from Amazon

Arches watercolor paper block, cold press, 9″ x 12″, 140 pound Buy from Amazon

Easy release painters masking tape Buy from Amazon Adjustable desktop easel Buy From Amazon

This simple rowing boat can be painted with just one brush. A 1/4″ flat brush.

Begin by painting a loose background wet into wet using Ultramarine and Dioxazine Purple. Leave the paper dry where the boat will be as the paint can only flow only where the paper is wet.

With the edge of your flat brush, paint the darker interior of the boat with a flat wash of Dioxazine Purple and Payne’s Grey.

Paint the exterior of the boat with Cadmium Red. Thin your paint mixture with water as you progress down to the boat’s reflection in the water. The reflection should be lighter and have a less saturated color than the boat itself.

While the paint was still wet I dropped in some shadows along the rear and particularly around the bottom of the boat.

Here’s a pro tip for painting shadows. Never use gray, or black to darken your colors as this just makes them dull and lifeless. In this instance I’ve added Ultramarine to my Cadmium Red. This darkens the color, as well as cooling it, making for a much more convincing shadow color. For more on this this see my detailed post on color theory and how to mix watercolors for the best results.

How to Paint Boats In Watercolor: “Boats In The Harbor”

Here is the original reference photo for my painting “Boats in the harbor” taken from a video that I took.

Although the final painting was actually completed in the studio, I also did some tonal Plein Air studies on location. A tonal study is a monochromatic painting, or pencil sketch that is done to help understand just the light and dark values. I was also trying to get a feel for the structure and perspective of the boats.

This painting of a couple of boats anchored on the Kaipara Harbor in New Zealand, shows how it’s possible to portray a convincing looking boat with only a few brush strokes and a couple of tonal values.

Total Time: 45 minutes

My initial sketch, is quite rough, as you can see but there is just enough detail to show the structure of the boats. The rowing boat in the foreground is just a few simple lines but the little cabin cruiser at the water’s edge has a deceptively complex shape and took a bit longer to get right as it is positioned in such a way that makes it necessary to add perspective.

When drawing three dimensional objects in perspective I find that it try and visualize them as collection of simple geometrical shapes such as stacked boxed and then I add the finer details after.

I began by painting the sky and water in simple broad strokes. The painting was set up on my desktop easel angled at about 45 degrees.

For the first wash I used a 1/2 inch Hake brush with Cerulean Blue diluted to a weak tea consistency. I left plenty of white paper showing through especially around the boats. For the dark wet sand and mud in the foreground, I brought the wash down to the bottom of the paper. I picked up some Dioxazine Purple, Payne’s Grey and Burnt Umber and allowed this to mix and blend on the paper.

The boats will be the main focus of this painting. They are the elements with the strongest contrast and strong contrasts tend to draw the eye immediately. To keep things simple and uncluttered, I’m going to keep the background elements quite loose and undetailed.

With a 1/4 inch Flat brush I painted a variegated wash of Greens mixed from New Gamboge and Prussian Blue and Burnt Umber.

A flat brush is perfect for creating the sharp straight edges needed for the clean lines of the boats. Begin by blocking in just the boat’s shadows, with a 1/4 inch flat brush. I used a strong gray-violet which was mixed from Payne’s Gray, Ultramarine and Alizarin Crimson.

I gave the foreground rowing boat a little more detail and tonal variation than the cabin cruiser, as it is closer to the viewer. Here I am adding the finishing touches to the outboard motor. Don’t forget to indicate the cast shadows on the sand as this little detail will really serve to make the boats feel solid and well grounded in the scene.

Add the texture of sand and stones by flicking paint with an old toothbrush. I’ve used a sheet of paper as a mask to ensure that the paint doesn’t go into other areas of the painting. Ensure that the paper is at least an inch above your painting, otherwise it will create an unnaturally straight line of spatter.

Use a small mop brush to paint the leaves and foliage in the foreground. A mop brush is perfect for creating leaf shapes. It also forms a sharp point, which is ideal for thin branches.

With 95% of the painting completed, all that’s necessary now is to add the darkest details such as the anchor lines and other small lines (often referred to as calligraphy) with a Rigger. Here I am adding the windows to the cabin cruiser with the edge of a flat brush.

If you found this post useful check out the links below

How To Start Watercolor Painting: Essential Beginners Guide

6 Easy Beginner Watercolor Painting Ideas You Can Do!

35 Beginner Watercolor Mistakes & How To Fix Them

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Boats on the beach watercolour with Charles Evans

British artist Charles Evans shows us how to paint boats on a beach. He stresses the fact that we should treat boats like buildings when sketching them.

Always start with the sky, using a lot of water; this time he uses only ultramarine blue with his Aquafine 1.5-inch flat brush. Once dry, he paints the background before the boats. For the background, he uses his Aquafine 3/4 inch flat brush. The sea is a simple mix of Ultramarine Blue with a touch of hookers green and a tiny touch of burnt sienna. 

When painting the boats, Charles reminds us that everything that is white has a blue tint in shadow. Talking about shadows, these are added at the end. 

Don't forget to watch till the end as Charles gives us a nice trick on how to add texture and interest to the foreground!

Here is also a reminder on how to simply create new colour shades:

• Raw Umber with Ultramarine Blue gives you Sepia
• Get Van Dyck Brown by mixing Sepia and Burnt Sienna 
• Raw Umber with Burnt Sienna will give you Burnt Umber

Your step by step guide

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Daler-Rowney Aquafine Watercolour paints offer free-flowing, vibrant and transparent watercolours, ideal for students and professional painters alike. The Aquafine Watercolours have excellent working properties and can be used to create beautiful and delicate washes.

Aquafine Watercolour Brushes

Daler-Rowney Aquafine Brushes is a comprehensive range of soft synthetic and natural hair brushes, ideal for watercolourists. Available in short handled options, Aquafine brushes offer excellent performance in the hands of students and professionals alike.

The Langton Watercolour Paper

Daler-Rowney The Langton Watercolour Paper is a high-quality watercolour paper. The paper is colour-stable, mould-made and acid-free, and ideal for wet in wet techniques.

The Langton Prestige Watercolour Paper

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About the artist

Charles Evans is a British artist born in Yorkshire. During an early career in catering, he discovered a love of painting and was commissioned by the National Coal Board to paint pictures for their boardrooms.

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Igor Dubovoy

All artworks by igor dubovoy.

94 Artworks

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• Price: High to Low
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• Most recent

Oil on Canvas 50x100cm

RUB 288,000

RUB 222,000

Watercolor on Paper 76x56cm

RUB 114,000

Summer evening

Oil on Canvas 40x50cm

Oil on Canvas 50x90cm

RUB 282,000

Winter river

Oil on Canvas 50x70cm

Oil on Linen 50x70cm

Spring forest

Oil on Linen 50x90cm

Oil on Canvas 30x90cm

Watercolor on Paper 56x56cm

Crystal forest

Watercolor on Paper 76x36cm

Watercolor on Paper 56x38cm

Yahts in marine. Evening

Not available

Watercolor on Paper 56x25cm

Watercolor on Paper 25x56cm

Yachts in sunset

Watercolor on Paper 38x56cm

Street in Venice

Watercolor on Paper 55x46cm

Moscow street

Watercolor on Paper 56x30cm

Watercolor on Paper 76x28cm

Charles bridge. Prague

About the artist, credentials.

• Nationally Known
• Experienced Artist
• Works on commission

« I love to travel and in my works I reflect the beauty of the world around us, because in everyday life we ​​often do not notice this. »

Igor Dubovoy is an experienced artist from Russia whose paintings have been featured in solo and group exhibitions internationally. Inspired by his travels, Dubovoy paints city scenes and landscapes in oil and watercolor on canvas. His paintings are characterized by the presence of light and their realist quality, transporting the viewer to different parts of the world.

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Latest Artworks Sold

Watercolor on Paper 55x75cm

Oil on Canvas 50x110cm

Oil on Canvas 60x30cm

Oil on Canvas 60x40cm

Frozen light

Oil on Canvas 40x60cm

Oil on Canvas 60x90cm

Watercolor on Paper 56x76cm

Solo Exhibitions

• 2022 Int. Art Exhibition / Art Gallery - Coguelles, France
• 2020 Personal exhibition / Azov gallery - Moscow, Russia
• 2017 Indias first international exhibition / Exhibition Top 15 - Delhi, India
• 2017 IWS Albania / Tirana-biennial - Tirana, Albania
• 2017 International Watercolor Festival / Fabriano Museum of paper and watermark - Fabriano, Italy

Group Exhibitions

• 2021 WMW / Gallery of Photography - Moscow, Russia
• 2021 Art Gamma Fest / Art Gallery - Ryazan, Russia
• 2021 Int. Art Exhibition / Art Gallery - Blagoveschensk, Russia
• 2020 Watercolor spring / Izmailovo Gallery - Moscow, Russia
• 2019 MORA / MORA gallery - NY, United States
• 2019 NTERNATIONAL WATERCOLOR IWS / IWS Moscow - Moscow, Russia
• 2019 MORA / MoRA - NY, United States
• 2018 INTERNATIONAL ART FESTIVAL / Art Life - Moscow, Russia
• 2018 INTERNATIONAL ART FESTIVAL / Astana - Astana, Kazakhstan
• 2018 International Watercolor Festival / Fabriano Museum of paper and watermark - Fabriano, Italy
• 2018 Igor Dubovoy / Fabriano Museum of paper and watermark - Fabriano, Italy
• 2016 ART EXPERTISE / Firenze - Firenze, Italy
• 2016 Golden turtle / Moscow - Moscow, Russia
• 2015 Russian Art Week / Moscow - Moscow, Russia

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10 Fabergé eggs from the Moscow Kremlin Museums (PHOTOS)

In 1885, Emperor Alexander III was the first to commission a precious Easter egg from jeweler Carl Fabergé, and he presented it as a surprise gift to his wife, Empress Maria Feodorovna. 

His son, Nicholas II, continued the tradition - every year he gave them as presents not only to his mother but also his spouse, Alexandra Feodorovna. In total, the House of Fabergé made 52 eggs for the Imperial Family. After the 1917 Revolution, many were sold abroad by the Bolsheviks and today can be found in different museums around the world. However, some have been lost. As for these 10 masterpieces, they remained the property of the Russian state and are now part of the collection of the Moscow Kremlin Museums.

1. The Memory of Azov Egg, 1891

The egg, in neo-Rococo style, was made in the workshop of jeweler Mikhail Perkhin and was commissioned by Alexander III. This Easter gift commemorated a nine-month voyage to the East by the Tsar's sons (including the heir to the throne, the future Emperor Nicholas II). The surprise inside the egg is a miniature replica of the Pamiat Azova [Memory of Azov] armored cruiser on which the Tsareviches made their journey. The ship is made with gold and platinum, and set on a plate of aquamarine the color of sea water, in a gold frame with a loop for handling. The egg is made of dark green heliotrope, recalling the ocean depths.

2. The Bouquet of Lilies Clock Egg, 1899

This gold egg is one of 20 presented by Nicholas II to his wife, Empress Alexandra Feodorovna, and is a true declaration of love. In addition to the lilies (a symbol of purity and innocence), the egg is also surmounted with a wreath of gold roses (a symbol of love). A white enamel dial with diamond numerals revolved horizontally, and a diamond-studded gold clock hand shaped like Cupid's arrow showed the time.

3. The Trans–Siberian Express Egg, 1900

One of the few eggs never to have left Russia, it commemorates a momentous event for the country - the completion of the main section of the Trans-Siberian Railway. The Easter gift is also a reminder that the future Emperor Nicholas II had visited the construction site during his journey to the East.

The egg shell has an interior lined with velvet, while its exterior is decorated with enamel and a wide silver belt on which a route map of the Trans-Siberian Railway is engraved (unfinished sections are marked by a dotted line). Inside the egg is a fold-away steam locomotive with a ruby lamp, diamond headlights and five carriages with windows made of rock crystal. A special mechanism set them in motion.

4. The Clover Egg, 1902

This egg is made in the Art Nouveau style fashionable at the time. Its surface is decorated with an exquisitely thin and delicate pattern imitating clover: Some leaves are covered in green enamel and the others in diamonds. A ruby ribbon curls through the openwork design, and the whole structure is supported on a pedestal of gold clover stems. If you open the egg, on the rim you can see a miniature crown of the Russian Empire and the year 1902. The surprise itself has been lost - it was a four-leaf clover adorned with diamonds, and miniature portraits of the Tsar's four daughters.

5. The Moscow Kremlin Egg, 1906

The largest of the Imperial eggs commemorates the visit of the Royal couple to Moscow for Easter in 1903. Nicholas and Aexandra didn't like to visit the old capital following the mass crush on Khodynka Field during the festivities after their coronation, so their two-week return to Moscow was a historic event. The egg itself resembles the main Dormition Cathedral of the Moscow Kremlin and is crowned with a gold cupola. The jeweled masterpiece stands on a base that imitates the outlines of the Kremlin. The court jewelers paid attention to the smallest details and reproduced in gold and enamel the coat of arms on the Spasskaya Tower, as well as icons and items of the cathedral's interior. The egg also has a wind-up clock and musical mechanism that plays the "Cherubic Hymn", a favorite hymn of Nicholas II. 

6. The Alexander Palace Egg, 1908

In 1904, a long-awaited son and heir was born into the Imperial family - the Tsarevich Alexei. He was afflicted with hemophilia, however, and the Empress began to experience increasingly frequent anxiety attacks - so the royal couple decided to retreat from the prying eyes of fashionable society and went to live in the Alexander Palace outside the town in Tsarskoye Selo. The palace provides the theme of this egg by jeweler Henrik Wigström - a miniature replica of it is the surprise inside.

The dark green nephrite egg is encrusted with gold and studded with diamonds and rubies. It is adorned with five watercolor portraits of the children of Nicholas and Alexandra: Tatiana, Olga, Maria, Anastasia and Alexei.

7. The Standart Yacht Egg, 1909

In 1909, Nicholas II presented Alexandra with an Easter egg containing a miniature replica of the Imperial yacht Standart, his favorite ship on which he frequently put to sea with his family.

The egg is made of rock crystal and blue lapis lazuli. Inside, the gold miniature model of the yacht seems to be slicing through the crystal waves.

8. The Alexander III Monument Egg, 1909

Nicholas presented this Easter egg with a model of a monument commemorating his father, Alexander III, to his mother, Dowager Empress Maria Feodorovna, in 1910. The miniature was inspired by a real monument to the "Peacemaker" Tsar which had been erected in St Petersburg in 1909. The gold monument stands on a lapis lazuli base. The surrounding egg is carved out of rock crystal, mounted entirely with platinum and decorated with double-headed eagles and diamond-encrusted trelliswork.

9. The Romanov Tercentenary Egg, 1913

Carl Fabergé made this valuable egg to coincide with an important date: The 300th anniversary of Romanov rule was being marked on a grand scale in Russia in 1913. The work is replete with state emblems - the egg's purpurine base with enamel decorations resembles one of the ancient items of Tsarist regalia, the Russian Imperial shield of state. A double-headed eagle of silver-gilt serves as the pedestal for the egg. In its talons the eagle holds other important regalia - the orb and scepter. The gold shell of the egg itself is decorated with enamel and 18 portraits of the Romanov dynasty's rulers - from the first tsar of the House of Romanov, Michael, to Nicholas II. The surprise contained inside the egg - reinforcing its function as a manifesto - is a globe portraying the territory of the Russian Empire.

10. The Steel Military Egg, 1916

During World War I, no-one was in a mood for experimental trelliswork or the sparkle of diamonds, so the Fabergé jewelers created an unusual Easter egg made of steel. The composition is topped by the Imperial crown, and on the polished body is the Imperial coat of arms - a double-headed eagle with arrows and a laurel wreath in its talons - symbols of war and glory. The egg stands on steel feet recalling artillery shells, placed on a base of jade.

The surprise inside is in the form of an easel with a watercolor showing Nicholas II visiting the army at the battlefront. The image is inspired by actual photographs of the time.

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