Fabergé exclusive Imperial Easter Eggs made for Rich people
Fabergé in London: Romance to Revolution
The Hen Egg, Fabergé, Workmaster unknown St Petersburg, 1885 Gold, enamel, rubies Given by Emperor Alexander III to his wife Empress Maria Feodorovna for Easter 1885
Fabergé Romance to Revolution
The most anticipated display in the exhibition Fabergé in London: Romance to Revolution, is the kaleidoscopic display of fifteen of the famous and iconic Imperial Easter Eggs that were created for the Russian royal family. It is the largest collection of these priceless treasures on public display.
The Basket of Flowers Egg, Fabergé, 1901, St Petersburg Gold, silver, parcel gilt, enamel. Royal Collection Trust © Her Majesty Queen Elizabeth II 2021
From 1885 to 1916, master goldsmith Carl Fabergé delivered fifty fabulously bejewelled eggs to the Russian Emperors Alexander III and Nicholas II.
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These eggs were the ultimate objets d’arts, and ten were produced from 1885 to 1893 as gifts for Emperor Alexander III’s wife, Empress Maria Feodorovna.
(Left) The Swan Egg, Fabergé, Gold, matt opaque mauve enamel, rose-cut diamonds, Given by Emperor Nicholas II to Dowager Empress Marie Feodorovna for Easter 1906, (Right) The Moscow Kremlin Egg, Fabergé, Workmaster unknown, St Petersburg, 1906, Gold, silver, onyx, glass, enamel, Given by Emperor Nicholas II to his wife Empress Alexandra Feodorovna for Easter 1906
He then created forty more during the reign of Emperor Nicholas II, who had two of each produced each year to give to his mother, Dowager Empress Marie Feodorovna, and to his wife, Empress Alexandra Feodorovna, until the Romanov dynasty fell in 1917.
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The collection on display includes several that have never been shown in the UK, including the largest Imperial Egg – the Moscow Kremlin Egg – inspired by the architecture of the Dormition Cathedral, on loan from the Moscow Kremlin Museums.
The Alexander Palace Egg, Fabergé. Chief Workmaster Henrik Wigström (1862-1923) gold, silver, enamel, diamonds, rubies nephrite, rock crystal, glass, wood, velvet bone, 1908 © The Moscow Kremlin Museums, Given by Emperor Nicholas II to his wife Empress Alexandra Feodorovna for Easter 1910
The Alexander Palace Egg, featuring watercolour portraits of the children of Nicholas II and Empress Alexandra – and containing a surprise model of the palace inside – also takes centre stage alongside the Tercentenary Egg, created to celebrate 300 years of the Romanov dynasty, only a few years before the dynasty crumbled.
Romanov Tercentenary Egg, Fabergé, Chief Workmaster: Henrik Wigström St Petersburg, 1913 Gold, silver, steel, diamonds, turquoise, purpurine, ivory, Given by Emperor Nicholas II to his wife Empress Alexandra Feodorovna for Easter 1913
Other eggs that feature include the recently rediscovered Third Imperial Egg of 1887, found by a scrap dealer in 2011 – one of the “missing” eggs created by Fabergé that was lost for many years.
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The Peacock Egg of 1907-8, on public display for the first time in over a decade contains a surprise of an enamelled gold peacock automaton and Empress Alexandra Feodorovna’s Basket of Flowers Egg, lent by Her Majesty The Queen from the Royal Collection.
The Third Imperial Easter Egg, Fabergé, Workmaster: August Holmström St Petersburg, 1887 Gold, sapphires, diamonds. Given by Emperor Alexander III to his wife Empress Maria Feodorovna for Easter 1887
These fifteen exquisite eggs are part of a showcase of over 200 objects in the exhibition that tell the story of Carl Fabergé, the man, and his internationally recognised firm that symbolised Russian craftsmanship and elegance – an association further strengthened by its connection to the romance, glamour and opulence of the Russian Imperial family and the tragedy of their demise.
Russian revolution items lost
During the chaotic aftermath of the Russian revolution in 1917, imperial treasures were confiscated by the provisional government, and some items were lost.
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Of the fifty eggs that were created for the Romanov family, forty-three are known to have survived. Seven remain missing.
Although the imperial eggs are a highlight, the exhibition also delves further into Fabergé’s work.
The Peacock Egg, , Fabergé, Chief Workmaster: Henrik Wigström, St Petersburg, 1908, Rock crystal, silver gilt, enamel, diamonds. Given by Emperor Nicholas II to his mother Dowager Empress Maria Feodorovna for Easter 1908
Fabergé not only offered his skills and expertise to the Russian royal family, but his clientele also included aristocrats, American heiresses, exiled Russian Grand Dukes, Maharajas, financiers with newly made fortunes, and socialites who flocked to him to buy gifts of unparalleled luxury for each other.
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His works were as popular in Britain as they were in Russia, and the exhibition shines a light on his triumphs in Britain, with his Edwardian high society clientele, starting with the opening of a London branch of Fabergé enterprises, his only one outside of Russia, in 1903.
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The exhibition begins with Fabergé’s youth, his travels throughout Europe and entry into the family firm.
Fabergé was official goldsmith to the Russian Imperial family
Then the important patronage of the Romanov family is highlighted by a miniature of the Imperial Regalia, lent by the Hermitage Museum made for the 1900 Paris Exposition Universelle, which establishes Fabergé’s role as official goldsmith to the Russian Imperial family.
Imperial presentation box, Fabergé, Chief Workmaster: Henrik Wigström, 1904, St. Petersburg , nephrite, coloured gold, diamonds, ivory
Its members often gave each other intimate Fabergé gifts and this is explored through bespoke ornate objects, including flowers made from rock crystal, gold and rose-cut diamonds and exquisite family portrait miniatures.
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His success at the 1900 Paris Exposition gave Fabergé a keen customer base outside Russia. Fabergé became the most exclusive and fashionable place to buy gifts.
The Mosaic Egg, Fabergé, Workmaster: Albert Holmström Designer: Alma Pihl St Petersburg, 1914, Gold, platinum, enamel, diamonds, rubies, emeralds. Given by Emperor Nicholas II to his wife Empress Alexandra Feodorovna for Easter 1914
Fabergé’s choice of London was partly because it was the financial capital of the world and also the home of Edward VII and Queen Alexandra who were already avid Fabergé collectors, making royal patronage in London highly likely.
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A transitional section in the exhibition transports visitors from Russia to a bustling London and highlights the strong links between the British and Russian Royal Families.
The Colonnade Egg, Fabergé, Chief Workmaster: Henrik Wigström St Petersburg, 1910 Bowenite, gold, silver gilt, platinum, enamel, diamonds Given by Emperor Nicholas II to his wife Empress Alexandra Feodorovna for Easter 1910
The following section of the exhibition explores the mastery of techniques and intricate detailing that became synonymous with Fabergé and his firm.
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Creating a culture of creativity throughout his workshops, his restless imagination inspired daring material choices and designs, while the integration of designers, craftsmen and retailers under one roof galvanised creative collaboration.
Tiara, Fabergé, Workmaster: Albert Holmström, Fabergé About 1904, St Petersburg Gold, silver, aquamarines, diamonds
The dazzling beauty of Fabergé’s work is shown by a sparkling aquamarine and diamond tiara – a token of love from Frederick Francis IV, Grand Duke of Mecklenburg Schwerin, to his bride Princess Alexandra of Hanover and Cumberland on their wedding day.
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Fabergé carefully tailored his works to his British clientele. He created hardstone portraits of the farm animals King Edward and Queen Alexandra bred at Sandringham, their favourite country estate, and objects enamelled in The King’s horse racing colours.
The Diamond Trellis Egg, Fabergé, Workmaster: August Holmström St Petersburg, 1892 Bowenite, diamonds, gold, silver. Given by Emperor Alexander III to his wife Empress Maria Feodorovna for Easter 1892
Highlighted objects include a commission from the King of his faithful wire-haired fox terrier, Caesar; a silver model portrait of Persimmon, his most loved and successful racehorse; and one of the firm’s rarest creations, a figurine of a veteran English soldier.
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The end of the exhibition moves toward the fateful impact of the Great War and Russian Revolution on Fabergé.
The Winter Egg, Fabergé, Workmaster: Albert Holmström Designer Alma Pihl, Rock crystal gold, platinum chrysolite diamonds St Petersburg, 1913. Given by Emperor Nicholas II to his mother Dowager Empress Maria Feodorovna for Easter 1913
While the Russian Revolution and the war irrevocably changed the social order in Russia and Europe, the taste for Fabergé survived, especially in London, where the firm’s works continued to be prized.
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From the 1920s, dealers and auction houses in London acquired confiscated Fabergé objects sold by Soviet Russia.
The Alexander Palace Egg & The Colonnade Egg
In the 1930s, the art dealers Wartski purchased several Imperial Eggs, which they sold to Fabergé’s London clients and to new generations of collectors in Europe and the United States.
The myth of the Imperial Easter Eggs endures
Lately, motivated by patriotic repatriation, Russians have become significant collectors of Fabergé’s work.
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Although Carl Fabergé’s firm ceased to exist, the myth crystallised around the Imperial Easter Eggs and the demand for Fabergé pieces has endured, with his designs continuing to inspire, captivate and delight.
Text & Photographs Courtesy of Victoria and Albert Museum
