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This is a beautiful and unique Russian papie mache trinket/jewellery Box depicting a Capercaillie ,hand painted and signed by the Russian Artist ORLOVA.

The box measures 10.3 cm (4 1/16 inches) long, 9.9 cm wide (3 7/8 inches), 2 cm (3/4 inches) deep.
The box is signed with Kholui (in russian letters). It also has
'Capercaillie' (name of the piece)
written on it. This is a lovely painted picture and the photo doesn't do it justice.

A huge woodland grouse, the large black males are unmistakable. They spend a lot of time feeding on the ground, but may also be found in trees, feeding on shoots. localised breeding species, found in Scottish native pinewood, a rare and vulnerable habitat, and in commercial conifer plantations. The UK capercaillie population has declined so rapidly that it is at very real risk of extinction (for the second time) and is a 'Red List' species.

The courting season of the western capercaillie starts according to spring weather progress, vegetation development and altitude between March and April and lasts until May or June. Three-quarters of this long courting season is mere territorial competition between neighbouring cocks or cocks on the same courting ground.

At the very beginning of dawn, the tree courting begins on a thick branch of a lookout tree. The cock postures himself with raised and fanned tail feathers, erect neck, beak pointed skywards, wings held out and drooped and starts his typical aria to impress the females. The typical song given in this display is a series of double-clicks like a dropping ping-pong ball, which gradually accelerate into a popping sound like a cork coming of a champagne bottle, which is followed by scraping sounds.

It is only towards the end of the courting season that the hens arrive on the courting grounds, also called leks, meaning play inNorwegian. Now the cocks continue courting on the ground, this is the main courting season.

The cock flies from his courting tree to an open space nearby and continues his display. The hens, ready to get mounted, crouch and utter a begging sound. If there is more than one cock on the lek, it is mainly the alpha-cock who copulates with the hens present. In this phase western capercaillies are most sensitive against disturbances and even single human observers may cause the hens to fly off and prevent copulation in this very short time span where they are ready for conception.

As traditionally known by hunters, on the other hand, cocks are particularly refractory to otherwise alarming signs during their courting display. This originated a well-known reference to the species in popular culture: in one of the famous films starringRomy Schneider, young Empress Sissi goes hunting with her father. When he pauses to shoot a male western capercaillie taking advantage of his apparent numbness, she manages to scare away the bird. This is used as a metaphor for the changes brought about by her womanhood: being herself in love, her newfound awareness of the associated sense of rapture enables her to empathize with the hapless bird (as a younger girl she would have been simply excited by the prospect of a fine hunting trophy).

There is a smaller courting peak in autumn, which serves to delineate the territories for the winter months and the next season.

About three days after copulation the hen starts laying eggs. Within 10 days the clutch is full, the average clutch size is eight eggs but may amount up to 12, rarely only four or five eggs. The subsequent breeding lasts about 26–28 days according to weather and altitude.

At the beginning of the breeding season the hens are very sensitive towards disturbances and leave the nest quickly. Towards the end they tolerate disturbances to a certain degree, crouch on their nest which is usually hidden under low branches of a young tree or a broken tree crown. As hatching nears hens sit tighter on the nest and will only flush from the nest if disturbed in very close proximity. Nesting hens rarely spend more than an hour a day off of the nest feeding and as such become somewhat constipated. The presence of a nest nearby is often indicated by distinctively enlarged and malformed droppings known as "clocker droppings". All eggs hatch in close proximity after which the hen and clutch abandon the nest where they are at their most vulnerable. Abandoned nests often contain "caeacal" droppings'; the discharge from the hens appendixes built up over the incubation period.

After hatching the chicks are dependent on getting warmed by the hen. Like all precocial birds the young are fully covered by down feathers at hatching but are not yet able to maintain their body temperature which is 41 °C (106 °F) in birds. In cold and rainy weather the chicks need to get warmed by the hen every few minutes and all the night.

They seek food independently and prey mainly on insects, like butterfly caterpillars and pupae (there is a specialised butterfly species whose caterpillars develop only on Vaccinium myrtillus), ants, myriapodae, ground beetles and the like.

They grow rapidly and most of the energy intake is transformed into the protein of the flight musculature (the white flesh around the breast in chickens). At an age of 3–4 weeks they are able to perform their first short flights, from this time on they start to sleep in trees in warm nights. At an age of about 6 weeks they are fully able to maintain their body temperature. The down feathers have been moulted into the immature plumage and at an age of 3 months another moult brings them in their subadult plumage and now the two sexes can be easily distinguished.

From the beginning of September the families start to dissolve. First the young cocks disperse, then the young hens, both sexes may form loose foraging groups over the winter.

The boxes most widely sought after come from one of four small Russian villages - Palekh, Fedoskino, Kholui and Mstera. Special schools have been established at these places where artists train for four years before they become members of each village's art community. Each village also has its unique style.

Kholui is among the most ancient villages in the Vladimir-Suzdal area. Legend has it that arts and crafts were practiced in these parts from as early as the time of the Tatar-Mongol invasion. In the 1230-40s the highly developed urban culture of Northeastern Russia was almost wiped out by the Tatar-Mongol hordes. The local people fled to remote marshlands that were inaccessible to the Tatar cavalry. Kholui may well have been such a place, its name meaning "marshlands" in Finno-Ugrian languages. Thefirst recorded mention of the settlement in Kholui goes back to the mid-16th century. It is the deed issued by the grand prince Ivan Vasilievich to the Trinity-St. Sergius Monastery near Moscow relieving the Starodubsky salt works of obligations to the state. This indicates that at the time Kholui was owned by the monastery, which supplied Moscow with that highly prized commodity, salt. Document of the 17th century already mention Kholui icon-painters. These documents are dated 1613, the year when the Kholui sloboda (settlement exempt from state obligations) was given as an allodium to Prince Dmitry Mikhailovich Pozharsky who liberated Moscow besieged by the Poles in 1612. The level of literacy in the icon-painting centers of Kholui, Palekh and Mstera was markedly superior to that among the peasants of surrounding villages. In 1861 the village community opened the Sofinskaya School in Kholui with the assistance of Duchess Sofia Bobrinskaya.

Almost the whole male population of Kholui was engaged in iconmaking. In the 1870s, many icon-painting shops sprang up, some of them were quite large, such as the two-storied  workshop of Blinnichev which had craftsmen from Kholui and Palekh: among them were the Kryukovs-father Alexander and his sons Pavel and Ivan; the Denisovs-father Ivan and sons Ivan and Alexander; V.M.Blinnichev, V.I.Kurakin, and M.F.Khrenkin. Professor Kondakov, who visited the old icon-making centers of Palekh, Mstera and Kholui in 1900, pointed out that the craft of icon painting was sustained in those areas thanks to old legends. Student of icon-painting centers in the Vladimir gubernia in the 19th century, including Palekh, Mstera and Kholui pointed out that Kholui as an icon-paining center Predated all others. The first experiments in papier-mâché miniature painting were made in Kholui as early as in 1928. By that time the artists of Palekh, looking for ways to apply their icon-painting skills, Started decorating papier-mâché boxes following the technology they borrowed from the Fedoskino artists. But while the latter used oil, the Palekh artists used tempera technique. Kholui artists decorated several semi-processed plates and boxes made in Palekh. Kholui lacquer workshops were founded in 1993 on the basis of an artistic Guild, which existed since 1934. Kholui miniature painting is executed with egg yolk tempera over papier-mâché articles. They represent folklore and historic subjects, everyday life motive with stylized figures, which are depicted against the stylized landscape background. Famous artists are involved into the workshops activities; each of them is of person of vivid talent and inimitable individuality. Their creative won great fame - their artworks were rewarded with high awards, including the Great Silver Medal of the International Exhibition in Bruxelles. The artists were rewarded with honorary titles of Peoples Artist and Honored Artist of the Russian Federation; they also were honored with the Russian Federation State Prize named after Ilya Repin.

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