Richard, thank you for this additional information which is of course most interesting and salient to our efforts to properly identify this saber.
The Russian factor is certainly interesting and as previously noted, Russian styles definitely ran in close parallels with French in these times.
Here I would observe the note on the Solingen maker in Zlatoust who may have introduced this blade decorating style. It has been well known that many makers from Solingen went there, as well as to France (Klingenthal). While the stipple effect was as shown known on Russian blades, they certainly were on French as well, and clearly the clipped point, which again was a Solingen affectation are seen on these blades.
I think it is important to return to the decorating motif on this saber, which is a key factor in determining its probable classification in the present mounts.
Blades were of course often remounted, so these kinds of estimations need to focus on the mounts which typically lean toward more specific identification.
We have been discussing the possible motif on this saber as to honoring the Nile campaigns, and the most unusual lion head as well as serpent.
It is tempting to look at the pyramid on the motif of the sword just illustrated, and wonder at its connection as this blade predates those campaigns. However I would point out that by this time in the 18th century, there were strong masonic and fraternal affiliations throughout Europe, France in particular but I am unclear on Russian status. The pyramid is well known in Masonic symbology so that may be a possible reason for inclusion in motif.
While these added examples are of most interest, I remain inclined to a French origin for this saber of our discussion. The French were deeply interested and effected by Egyptian history and mythology and in their affection for neoclassic allegory seem likely to have used this lioness and serpent theme toward the motif on this with the Nile events in mind.
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