PRINCESS LEGEND OF A.
C ONTRARY to popular belief, it wasn't Yaytsa Faberzhe, popularly known as the Faberge Egg, that propelled the beginning of Peter Carl Faberge's journey as the official jeweller to the Imperial Court.
Rather, it was a pair of cufflinks acquired by Alexander III that led to the designer receiving the commission for the First Hen Egg during Easter in 1885.
The legacy of Faberge -- born to the French Huguenot family of Gustav Faberge in Saint Petersburg -- lives on, even though many of the exquisite jewels and objects that he created, including the legendary series of lavish and ingenious Imperial Easter eggs, failed to survive the Bolshevik regime. However, as much as events in history are questionable, if it wasn't for the Edict of Fontainebleau issued by Louis XIV of France in October 1685, the Soviet would have had neither one of the greatest jewellers of time as a son of its soil, nor the fables that revolve around the jewelled eggs. In Russia, eggs are referred to as a symbol of rebirth and mark the start of spring after a long and harsh winter season.
Faberge's contemporary collections take inspiration from the house's illustrious heritage, and largely from the series of eggs that the jeweller is popularly known for. A case in point is The Tree of Life . "It took over a year to make and celebrates Russian Art Nouveau style and folklore elements in an exuberant creation of emeralds and rare Blanc Limoges enamelling," says Katharina Flohr, creative and managing director, Faberge.
The jewellery piece aesthetically marries Russian folklore with works of the revivalist artist Victor Vasnetsov, particularly the painting, Sirin and Alkonost The birds of Joy and Sorrow.
Crafted as an artwork that narrates the 19th century Russian fairy tale, The Singing Tree
and the Talking Bird , the on
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