The famed jewelry house, Fabergé, recently unveiled a new collection of its High Jewelry Egg Pendants—the first such collection to bear the authentic Fabergé name since 1917.
The collection pays homage to the legendary Imperial Eggs created by Peter Carl Fabergé for the Romanov family, the company said. The new collection is a celebration of the egg as a timeless universal symbol of life. Fabergé has designed a collection of 12 one-of-a-kind egg pendants, one for each month of the year, under the name, “Les Fameux de Fabergé.” Each egg illustrates a traditional Russian proverb, through complex, multi-layered concepts.
The new creations were launched in Paris Friday during Haute Couture Week. Each egg will retail from $100,000 to $600,000. In addition, Fabergé, owned by investment company Pallinghurst Resources which purchased the brand from Unilever in 2007, said will work on private, personal commissions incorporating personal references, meanings and messages, “just as the Imperial Easter Eggs were created as personal gifts from one family member to another.”
Fabergésaid each egg pendant involves “a lengthy, exacting and in many cases pioneering fabrication process, pushing boundaries of both design and manufacture, and taking contemporary craftsmanship to a new level of sophistication. Bejewelled, superbly crafted, each with its own intriguing story, and full of surprises.”
Young Michael (Nicholas’ brother) with his tutor Ferdinand Thormeyer
After 300 years of Imperial splendour, the reign of the Romanovs abruptly came to an end when in 1918 the Bolsheviks brutally assassinated Nicholas II, Emperor and Autocrat of all the Russias, along with his wife and children. The remainder of the dynasty fled into exile. Having already lived in Russia for ten years, Ferdinand Thormeyer (1858-1944) was appointed language tutor to the Romanov children in 1886. He spent three years teaching the Tsarevich Nicholas - crowned Emperor in 1896 - and his brother and next-in-line Grand Duke George Alexandrovich. Thereafter he spent over 13 years teaching Grand Duchess Xenia Alexandrovna, Grand Duke Mikhail Alexandrovich and Grand Duchess Olga Alexandrovna. During brief periods of separation and on his departure from Russia in 1899, his imperial pupils chose to write to their well-loved tutor in French to keep him informed of all their experiences.
An Exceptional Collection of over 2,000 Intimate Letters, Postcards, Photographs and Documents from the Siblings of Nicholas II, Emperor and Autocrat of All the Russias to be sold at auction on Monday 6th December 2010.
Geneva based auctioneers Hôtel des Ventes will be selling a highly important and unique collection of extensive correspondence, photographs and drawings exchanged between H.I.H Grand Duke George Alexandrovich, H.I.H Grand Duchess Xenia Alexandrovna, H.I.H Grand Duke Mikhail Alexandrovich and H.I.H Grand Duchess Olga Alexandrovna and their private tutor Mr Ferdinand Thormeyer of Switzerland.
Predominantly written in French, the affectionate tone of the 1000 letters provides a real and emotive account of the lives of Tsar Alexander III’s children during a turbulent period of Russia’s history. The correspondence, dating from 1881 to 1959, portrays the well-preserved innocence of Xenia, Mikhail and Olga in the early letters of their childhood at Gatchina Palace and development into the mature comprehension of their official role and circumstance, relayed in an entirely personal and intimate manner. After the death of Alexander III, Mr Thormeyer unexpectedly finds himself confidante to Mikhail and in particular, Olga, who writes to him regularly up until her comparatively impoverished death in 1960.
The collection of 250 photographs - often taken by Thormeyer, Olga, or Mikhail himself - document various occasions in the park at Gatchina, in the company of the Imperial family’s entourage and Russian Army Generals as well as the development of Mikhail’s military career. Other correspondence includes over 400 telegrams and some 150 postcards following the events and movements of the Imperial family as well as 12 Imperial luncheon menu cards.
Hiding in the trunk was a precious Imperial gift of a gold, silver and sapphire cigarette case from the then Tsarevich Nicolas and his brother Grand Duke George Alexandrovich bearing a signed personal thank you message.
Accompanying this significant Romanov collection is a rare 1856 elephant folio commemorative Album of the Coronation of Alexander II, as well as a variety of Russian paintings, icons, silver, porcelain and works of art.
A história dos vestidos da corte russos começa em 1834, quando vestidos à moda russa foram introduzidos por uma ordem do imperador. Antes disso, a corte vivia na mais completa bagunça. A moda do império francês era considerada vulgar. As caudas e as penas da regência inglesa também não pegaram. As mulheres vestiam o que lhes viesse à cabeça. Nicolai I, certinho e pedante, ficou de saco cheio e, observando os oficiais vestidos todos de acordo com seu cargo e regimento, “uniformizou” também as mulheres. A cor e o tipo de bordado era definido pela posição daquela que usava o vestido na corte, permitindo identificar visualmente o rank da dama, e simplificando as enrolações da etiqueta e protocolo.
O modelo do vestido era uma mistura entre a moda da época e as roupas tradicionais russas. As “damas do estado” e as damas de honra solteiras deveriam usar vestidos verdes com bordados dourados. As damas da imperatriz usavam azul. As damas das princesas, azul claro. As chefes das damas de honra, vermelho escuro. As damas que visitavam a corte poderiam usar vestidos de qualquer cores, além das reservadas para as damas de honra. Todas as mulheres deveriam também usar um kokoshnik, e um véu branco de tule até o chão. Estes vestidos eram extremamente desconfortáveis. Os corpetes eram muito justos, as caudas eram reforçadas com várias camadas de tecido para suportar o peso dos bordados. As mulheres referiam-se ao ato de se vestir para ir à corte como “colocar a armadura”.
Enquanto as outras cortes seguiam a moda, a Rússia insistiu firmemente no modelo histórico e, de 1834 a 1917, os vestidos diferentes das damas da corte russa eram facilmente reconhecíveis, sendo também uma fonte de orgulho: as mulheres russas destacavam-se nas cortes estrangeiras, e em casa impressionavam os visitantes.