The last decades of the 20th century became a time of astonishing rediscovery of the forgotten masterpieces of the Russian jeweler Carl Fabergé (1842-1920), which seemed to have vanished forever from sight. These discoveries occasionally occurred in the most unexpected places and circumstances. For instance, in 1990, during the renovation of an old house on Solyanka Street in Moscow, workers stumbled upon an incredible treasure—exquisite jewelry made of gold and diamonds. It was revealed that this treasure had been hidden after the revolution by V.S. Averkiyev, one of the managers of the famous “Carl Fabergé” Society. As a result, the Kremlin Museum managed to acquire thirteen unique pieces created during the final phase of this legendary company’s activity, and these masterpieces have been exhibited multiple times both in Russia and abroad. Just four years later, the Kremlin Museum added another precious specimen to its collections—a magnificent flower styled like a dandelion. This delicate flower, made of a golden stem with jade leaves, was placed in a crystal cup that appeared to be filled with water. On the finest silver stamens rested natural flower fluff, among which small diamonds sparkled like morning dew. The “Dandelion,” preserved in its original Fabergé case, awaited its moment for a long time on the shelves of a modest apartment in the outskirts of the capital, until its owner decided to pass this family heirloom into the hands of the national artistic heritage of Russia. The beginning of the 21st century was marked by a new discovery whose significance cannot be overstated. In 2001, fragments of white quartz, blue crystal, and precious diamonds were identified in the collections of the A.E. Fersman Mineralogical Museum as elements of an unfinished imperial Easter egg, conceived in 1917. These pieces, donated to the museum in 1925 by Fabergé's son, Agathon Karlovich, became evidence of his meetings with the artist.Here is the translation of the provided text into English: --- "by Academician Fersman. The egg, started during the war but left unfinished, became the last chord in the exquisite symphony of Easter masterpieces by Fabergé—a unique precious chronicle of the vanished Empire."
By carefully studying this collection of sketches, one can draw conclusions about the price range of products from the Fabergé company. Some items have quite reasonable prices: for example, a mug made of two-colored glass in a simple silver frame cost 35 rubles, which is comparable to the prices for silver cups and glasses listed in the company's 1899 price list, ranging from 8 rubles for a smooth matte glass to 49 rubles for a more complex cup holder made of oxidized silver. However, other illustrations feature impressive sums: the price of a bowl with a goblet, adorned with polychrome enamels, is 1,300 rubles. Almost the same amount—1,440 rubles—was the cost of a bowl with a tray and eight goblets "made of gilded silver with luxurious enamel decoration, inlaid with colored stones,"—such a detail is present in the Moscow price list of 1899. This emphasizes that representative items, designed in the spirit of Russian romanticism, were not cheap and often became gifts from the head of state on the international stage.
Among the items present at the exhibition are three photographs, one of which depicts a bowl with a figure of a knight. Such a bowl, valued at 2,000 rubles, was presented to the Chinese Emperor by Tsar Nicholas II in 1910. Some sketches contain special codes that might indicate their cost, such as "aauu" on the project of the tea and coffee set or "zuu" on the drawing of a fruit vase. One of the designs, a grand sur-to-table worth 8,000 rubles, is marked with the code "buuu" (or "dyyy").
It is interesting to observe the discussions among the company employees about the functionality of the items, for example, they wondered whether it was possible..."Here is the translation of the provided text into English: "Make the candlesticks collapsible for ease of transportation. There are inscriptions regarding the deadlines for completing orders, which lends the works particular historical significance. The design of a vase made of crystal and silver with the number 32126 (likely an inventory number) and a price of 1,700 rubles is shown with the note: 'already sold.' Thus, this unique collection of drawings serves as a kind of chronicle of the creativity of the Fabergé factory, functioning as an important documentary source about the work of the Moscow branch from the late 1890s to the early 1920s. 'And it all comes down to Kuznetsky Most, and the eternal Frenchmen…' This line seems to mark the beginning of a new chapter in the investigation of lost masterpieces of jewelry art, where each stroke, each sketch reveals to us the magnificence and complexity of artistic heritage once again. These discoveries, interacting with the legacy of Fabergé, fill the space between the past and the present, reminding us of the culture and art that shaped not only Russian but also global heritage. When we contemplate these masterpieces, we feel as if we become participants in a century-old story that has captured the breath of time, the pursuit of ideals, and the necessity of having a memory of our past. The cultural and artistic heritage left by the masters becomes a source of inspiration for future generations, shaping a new perspective on precious art while immersing us in an endless world of creativity and innovation. Despite the fact that billions of people around the world will never again see the stamp 'K. Fabergé Moscow' on a large number of sketches, it is presumed that most of them originated from the branch located in the heart of the Russian capital. Numerous analogs, preserved in both state and private collections, confirm this, as well as photographs of finished products from the Moscow branch, proudly decorating the price lists of 1893 and 1899. The Moscow branch was founded in 1887 by the renowned jeweler Peter Carl Fabergé."with the support of his partner Allan Bo, who, as a subject of Great Britain, managed Moscow's affairs for a long time. Carl Fabergé, in turn, remained the principal owner and resided in St. Petersburg, while Bo oversaw all activities of his branch: he kept accounts, arranged contracts, ensured compliance with laws, and recruited workers. After his resignation in 1906, management passed to Otto Jarke, and later to the founder's son, Alexander Fabergé, a highly skilled artist, gemologist, and art historian. In 1912, after the joint efforts of Jarke and Alexander, the initiation of a new trading house under the name "Alexander Fabergé" was proposed. However, unsuccessful negotiations following Jarke's death left the Moscow branch operating under the name of Carl Fabergé. The jewelry shop and workshop were located in a picturesque area on Kuznetsky Most, which was rightly considered one of the most prestigious streets in the capital. It was here, among the sparkling display windows, enticing exquisite jewelry, and wedding rings, that one could feel luxury and become a part of elegant life. The street instantly attracted the attention of the affluent public, as it had already earned the nickname "Diamond Street": jewelry made of silver and gold, sparkling with precious stones, lured buyers from afar. Streams of people consistently flowed past the jewelry stores, where offerings from renowned suppliers such as Ivan Khliebnkov and Pavel Ovchinnikov coexisted with masterpieces from the outstanding jewelers of the Bolin family and Pavel Bure. Among them, the Fabergé shop occupied a special place. Located in a luxurious building at the corner of Kuznetsky and Neglinnaya, it attracted customers with its breathtaking creations: from a wide array of jewelry to highly artistic accessories. The shop became a symbol of refinement and craftsmanship, combining innovation with impeccable manufacturing techniques. Every day, this place was filled with light and life, as sophisticated city dwellers passed by, enchanted by its allure.Here is the translated text in English: "Immense sums were spent on temptation. Here, not just products were crafted, but true works of art that embodied the best traditions of Russian jewelry craftsmanship. Each jeweler of the company created pieces with soul, refining every detail to convey the spirit of the time and the elegance of the culture that the empire held. During these years, Kuznetsky Most became not only a symbol of luxury but also an important cultural center where talents, ideas, and tastes mingled, leaving an indelible mark in the memories of centuries. By the time the Moscow branch opened in 1887, there were already several jewelry companies operating in the historical spaces of the capital, including Ovchinnikov, Khlebnikov, Nemirov-Kolodkin, and the Bolin families. Nevertheless, Fabergé managed to win the sympathy of the public across all social strata. The firm’s success was largely explained by its employees’ ability to cater to the demands of both high society and representatives of the middle class. They did not limit themselves to the production of exquisite and expensive items but also sought to offer more affordable jewelry for less wealthy clients. In the Moscow store, everyone could find something that suited their taste and budget—from a stunning diamond rivière to a modest gold brooch costing three rubles, embellished with a fifty kopeck piece. Fabergé was known for its honesty in pricing. The company always guaranteed that its prices were the fairest and that the cost of the products reflected the effort spent and the quality of the materials used. This rule became one of the cornerstones of their reputation."Here is the translation of the provided text into English: --- This is one of the three fundamental principles that the firm has consistently adhered to throughout its history. The first price list appeared in 1893 in response to the growing interest from the provincial public, eager to purchase items from Fabergé. These unique catalogs became a true window into the world of jewelry art, showcasing a variety of items made from gold and silver, although they consciously did not include the “best designs” to protect themselves from competitors who might attempt to copy their masterpieces. Gradually, Fabergé began to attract the attention not only of Moscow fashionistas but also of foreign clients. The opening of new branches abroad contributed to the expansion of the customer base and the establishment of trust in the brand. The prosperity of Fabergé was not only a result of craftsmanship but also of the ability to provide quality service. Customers entering the shop could be assured that they would receive not just a product, but a unique service experience that conveyed a sense of significance and exclusivity. Great attention was also paid to the shop’s design. The branded atmosphere created a feeling of aristocratic sophistication, while the beautifully arranged display cases showcased stunning jewelry sparkling with diamonds and enhanced with intricate enamel and precious stones. Every element of the interior, every detail was carefully thought out to create an environment where full enjoyment of art went hand in hand with practical choice. Fabergé not only infused craftsmanship into jewelry production but also imbued a soul into each of its creations. Every item that left the company’s workshops became a work of art that raised the standards of the jewelry business. Highly skilled artisans working under the guidance of outstanding jewelers became the embodiment of Russian artistic jewelry craftsmanship, synthesizing the best traditions with modern ideas. Clients remained loyal to Fabergé not only because of the quality... --- (Note: The provided passage appears to be incomplete at the end, so the translation reflects that.)Here is the translation of the provided text into English: --- products, but also for the sense of connection to something greater—a world where every jewelry accent embodied the spirit of the times. Fabergé did not just sell items; he created an artistic context that blended imperial traditions with a rich cultural background. As a result, among jewelry companies, Fabergé’s firm quickly took a leading position, remaining in the memory not only of Muscovites but of everyone who aspired to magnificence and sophistication in every aspect of their lives.
Customers stepping through the doors of the Fabergé store could be assured that they would be offered only the most relevant and elite examples of jewelry art. The release of product collections featuring "the latest designs" became the second cornerstone of the enterprise's success. In the Moscow branch, talented designer craftsmen worked, graduates of the Imperial Stroganov School and the Central School of Technical Drawing named after Baron Stieglitz. Among them stood out names such as S.N. Andrianov, I.I. Liberg—the chief artist of the silver department—and E.I. Shishkina-Golinevich. The brothers N.A. and K.A. Klodt von Jurgensburg, who were knowledgeable in ornamentation, and M.P. Ivanov, who worked for several years as a designer-artist at the Moscow factory, were also notable figures.
The Moscow factory did not limit itself to creating mass-produced items; it willingly took on the fulfillment of individual orders from wealthy nobility, renowned musicians and actors, as well as members of the imperial family, such as Grand Duchess Elizabeth Feodorovna, widow of Governor-General Sergey Alexandrovich, and the famous ballerina Yekaterina Gel'tser. Throughout its existence, the store provided its customers not just with products, but with unique masterpieces, allowing each of them to create their own style.
Customers could calmly explain their wishes to the client, as the boutique was led by a special order handler. He conveyed the details to each artist, influencing the final product. The most important aspects of the discussion included price, materials used, and the design of the future piece—customers could choose their preferred sketch from several options.
It is noteworthy that items that had fallen out of fashion or were lost over time did not remain on the displays on Kuznetsky Bridge for long. They were collected and melted down once a year, which allowed the store to keep its assortment current and rid itself of excess inventory. Even products priced at less than one ruble were made with the utmost care and reliability, as the company never used substandard materials. Thanks to this attention to quality, the Fabergé brand became one of the most visited and respected in the ancient capital. The products of the Moscow branch quickly gained favor not only among consumers in Russia but also among users beyond its borders.
The Moscow workshop of Fabergé, located on Bolshoy Kiselny Lane, reached the peak of its productivity around 1890 and, by the turn of the century, became the largest jewelry enterprise in the Russian Empire. About three hundred specialists worked there, significantly exceeding the number of craftsmen in St. Petersburg, where about a hundred masters of various professions were employed. Although Carl Fabergé emphasized the high quality of St. Petersburg products and strict artistic control, it was the Moscow factory that generated the company’s main income. A wide range of goods was produced there, accessible to a much broader audience.
The enterprise had four main sections: jewelry, silver, mechanical, and granite. According to Franz Petrovich Birbaum, the company's chief engraver, the silver production in Moscow exhibited high artistic quality..." --- Please let me know if you need any further assistance!with its exquisite qualities and exemplary organization. Birbaum noted in his memoirs that the silver craftsmanship in the capital surpassed the scale and quality of that in St. Petersburg, and by the beginning of the 20th century, all major silver items were produced in the Moscow workshop. The specialization of the Moscow branch allowed for not only maintaining high standards of quality but also effectively responding to client requests. Unlike the St. Petersburg workshop, where a strict structure and traditions imposed limitations, the Moscow operation had greater flexibility, enabling it to adapt to the needs of various customers. High-quality products were produced here not only for the imperial court but also for wealthy citizens who wished to enhance their lives with unique jewelry items. The artisans working at the Moscow branch employed the most modern technologies and crafted unique pieces that left a significant mark on the history of Russian jewelry art. This allowed the Fabergé company to develop an unparalleled style that combined traditional Russian motifs with contemporary trends, thereby creating original and sought-after products. Numerous exhibitions held at the Moscow factory vividly showcased the high-class mastery of the artists and jewelers working there. These exhibitions featured not only traditional jewelry but also astonishing mechanisms that captivated the public's imagination with their intricate designs and sophisticated mechanisms. These products not only attracted the attention of high society but also won the favor of the burgeoning bourgeoisie, who delighted in...Here's the translation of your text into English: "Engaged with art and fashion. By the early 20th century, the Moscow Fabergé factory had firmly established its position in the Russian market and entered the international arena. The products of this workshop became symbols of sophistication and taste, which spurred the development of new trading ties with European partners. Each new project that came to light served as a testament to the self-sufficiency and uniqueness of the Russian jewelry tradition, while still adhering to the high standards set by its predecessors. One of the pivotal moments in the history of the Moscow factory was the increase in individual orders from representatives of the imperial court and nobility, which further strengthened the company's reputation. The heightened interest in unique products, such as bulk purchases for the royal family, contributed to the expansion of production and the introduction of new technologies for processing precious materials. Each piece created by the craftsmen became not only a moment of aesthetic pleasure but also a testament to their talent and dedication to the art. At the same time, the Ovchinnikov firm and other well-known jewelry houses created a competitive environment in which Fabergé managed to remain at the forefront. Participation in international exhibitions and fairs allowed them to showcase the company's achievements and attract the attention of foreign buyers, which also contributed to the overall rise in the popularity of the Fabergé brand. With each passing year, continuing to produce items that amazed and delighted, the Fabergé firm laid the foundation for future successes. Each object that emerged from the Moscow workshop became not just a piece of jewelry, but a work of art, embodying the spirit of the time and refined taste. Thus, the Moscow factory not only left a significant mark in the history of Russian jewelry art but also made an important contribution to the world's cultural treasury, making the old new again and the forgotten relevant once more. Compare sketches of jewelry masterpieces with photographs of completed works."The production of items from commercial price lists is an endeavor filled with captivating aesthetic play. Every stroke in the drawing breathes the spirit of the time, and the finished object, which amalgamates the technique and ideas of the craftsmen, reveals the mysterious nuances of their artistic language. It is so pleasing to see that artistic ideas, unforgettable captured on paper, have come to life. Thus, in the 1893 price list on page 30, one can find an image of a wine decanter made from the facets of this very crystal, adorned with oxidized chased finishes in the style of neo-Rococo. This work was crafted with such precision that the diamond-cut pattern matches the design completely, as if the artist himself were on the brink of a majestic creation. A decanter from the same price list, number 71, matches it in grandeur, differing only in barely noticeable details, yet still pleasing to the eye with the originality of its ribbed handle with an expressive silhouette and the edging that completes its image. In 1899, the price list is brimming with samples that confirm the successes of the workshop. One of them is a large crystal pitcher, created for beer, water, milk, or kvass, which is refined by an ornament of silver leaves of water lilies. However, in its finished form, the pitcher lost the delicate silver rim that was initially planned in the design. This elegance contrasts with the more complex shapes of the products, such as the base for fruit with a crystal bowl, on a pedestal shaped like a silver dolphin. Such a motif found reflection in three different drawings and was popular among the nobility. The design of the vase with a dolphin had a price of up to 250 rubles, as per the 1899 price list, although, of course, the items turned out not to be exact copies of the original.Here is the translation of the provided text into English: **The firm K. Fabergé. FSUE State Historical and Cultural Museum-Reserve Moscow Kremlin.** Despite this, many utilitarian items mentioned in the same price lists are adorned with figures of children, dolphins, cherubs, or nymphs, which impart a special charm and artistic expressiveness to the products. The compilers of these catalogs regularly emphasized the presence of such figures as "minted art details," adding a spirit of magnificence and sophistication to all items. Some sketches impress with the splendor of their sculptural elements. The first of such works, held in a private collection, is a jar for jam and candies with a figurine of a putto playing the flute. This work not only amazed with its beauty but also became a complete replica of the project and photograph from the 1899 price list, marking the success of the masters in the skillful combination of technique and aesthetics. Turning the pages of such price lists is like traveling through time, inhaling the scent of eternity. Each item that once festively contrasted with the metallic shine and sparkle of precious stones now lives beyond its original purpose. Every stroke and every engraving speaks of a history and craftsmanship that once delighted the eye and emphasized status. Here, each detail narrates the age-old traditions, secrets of jewelry art, and cultural codes embedded by talented hands. Let us take a look at the remarkable details concerning the creations of true masters of jewelry art, which have become symbols of their time. The notes accompanying various sketches and the brief descriptions found in the price lists sometimes contain vital information about the materials, execution techniques, and artistic style directions of the products. For example, a fruit bowl, elegantly finished with a hammered base adorned with curls in the Rococo style and floral garlands, was executed "in the style of Louis XV." This style, having survived its renaissance...The text seems to describe the elegance and sophistication of the late 19th century, particularly in relation to Moscow's silver craftsmanship and the influence of different artistic styles. Here is the English translation: --- The 1880s–1890s embody all the refinement and sophistication of the era. Compare this with another significant aspect: both price lists from the Moscow factory, published in the 1890s, testify to the reign of the "third rococo" style in the design of various silver items, from delicate openwork frames on leather boudoirs to luxurious mirrors, exquisitely crafted in the climate of hammered work. There are numerous examples of magnificent works by Fabergé that confirm the popularity of the lush style of the 17th century. In the collection of the Museums of the Moscow Kremlin, there is a rocaille silver pedestal for a vase, created at the Moscow factory between 1899 and 1908, which visually resembles the designs from project drawings. The phenomenal combination of sketches, photographs in the price lists, and preserved items allows us to date these drawings more precisely. The majority of them likely pertain to the early period of the Moscow branch of the factory, concluding in 1900. By deepening the study of the large complex of design works, one can draw interesting conclusions about the predominance of specific types of items in Moscow’s silver production. The most common became decanters and jugs, with the number of sketches reaching 75. It is not surprising that the price lists also focus on these items. Following them are vases for fruit and flowers of various shapes—ranging from low and round to elongated, both horizontally and vertically, on high legs. Of course, teapots and tea-and-coffee sets, which also became an important part of production, will not go unmentioned. Evaluating the significance of works of art in a restrained neoclassical style, which began to emerge as a new trend, also clarifies the picture. This style came to replace the light forms of rococo and is represented by numerous items in the spirit of Louis XVI, valued for their strict lines, austerity of forms, and refined decor. Starting in the 20th century, elements of risk in design... --- The text appears to analyze artistic styles, product trends, and the significance of certain items in the context of Moscow's silver production during the specified period.Here is the English translation of the text you provided: "They became less frequent: instead of grammatically complex heavy pedestals with elongated figures of frolicking cupids and nymphs, the design focused on polished or matte surfaces of silver, enriched with antiquized decor — palmettes, acanthus leaves, garlands, and pearl embellishments. The work of the designers at the Fabergé firm increasingly included interpretations of the stylistic means of the well-known French masters Percier and Fontaine. This can be seen, for example, in the design of napkin rings or small cups, which were created 'in the spirit of Percier and Fontaine.' In this regard, the factory demonstrated not only a commitment to high standards of quality and elegance, but also an ability to adapt to changing tastes of the public, confirming a strong reputation among the elite and a broad audience of art lovers. Thus, through the study of these unique sketches and their comparison with already finished products, we not only look back in time, enjoying the sophistication of each item, but also become intermediaries in a story where every detail whispers about an era when the greatness of everyday courage and variety shaped an exquisite jewelry tradition. Studying works from the Moscow factory and the elegant projects of the designer-composers, it becomes evident that discussions about the differences between the St. Petersburg workshops of Fabergé, which invariably adhered to classical styles, and the Moscow branch, which is presumed to be more aligned with bourgeois and merchant tastes, may be overly simplistic. It is important to understand that while there were indeed nuances between these two schools, Moscow's products were meticulously adapted to meet the demands of both local and foreign clientele — including those from St. Petersburg and London. Moreover, a significant portion of the footwear was crafted under the guidance of masters from the Northern capital and developed according to their sketches. Numerous designs executed in the neo-Russian style at the turn of the 20th century beautifully illustrate..."Here's the translation of the provided text into English: This statement is particularly noteworthy. For example, projects of bowls with enamel, ladles with a scoop, dated 1912, and an impressive ladle with a ball foot from 1911 all bear the mark "K. Fabergé. St. Petersburg." Especially remarkable is the design of the ladle inscribed with "Tsar Alexei Mikhailovich," which was decided to be made "in metal, without enamel." One is reminded of the luxurious golden bowl adorned with gemstones and presented to Alexei Mikhailovich by Patriarch Nikon in 1653; it is currently kept in the Armory Chamber of the Kremlin. However, it is evident that the firm's employees did not aim to create an exact replica of the ancient artifact, but rather intended to introduce their original modifications. The uniqueness of Fabergé lay in the fact that he never blindly imitated: starting from ancient forms and decorations, he created new, exquisite combinations. At the beginning of the century, there was a transition to a free, non-imitative approach, reflecting new trends in applied arts. Craftsmen sought not only to adopt the characteristics of past eras but also to introduce their own ideas, finding inspiration in traditions while adapting them to contemporary requirements and tastes. Thus, the jewelry born in the walls of the Moscow factory is characterized by originality and an inimitable style. It is also noteworthy that many products, like those mentioned, were created with an emphasis on high quality and uniqueness, which underscored the prestige of both the product itself and its source. Each creation by Fabergé represents not just a product but a complex of ideas, traditions, and styles, standing in contrast to simple copying and surpassing the ordinary. The art objects of this time became significant witnesses to the changes that occurred in society, contributing to the expansion of horizons and the popularization of jewelry craftsmanship in Russia and beyond. Analyzing the sketches, one can note that many of them not only enrich the knowledge of that time but also create a connection between the past and the present, prompting the viewer to reflect on the context in which...Here is the translation of the provided text into English: --- They were created. Each detail, every line carries the imprint of time, creating a dialogue between the master and future generations. All of this turns the sketches into a unique historical source, enriching our era and allowing us to understand how deeply rooted Russian jewelry traditions are and how they have shaped the perception of beauty over the centuries. In creating their products, the jewelers of the Fabergé firm sought not merely to copy the ancient Russian style but aimed for inspiration from it to convey the charm of the "old magical past." It was in Moscow that the largest volume of such works was realized. According to F.P. Birbaum, the main distinguishing feature of Moscow products as compared to those from St. Petersburg was the emphasis on Russian folk style. Among the most striking works of this direction were dishes, jugs, ladles, caskets, and artistic vases. The subjects for these items were drawn from folk epics and fairy tales, as well as historical events, which could be depicted either as individual figures or group scenes performed in bas-relief directly on the objects. Most often, these items were created using the lost wax casting method, and in most cases, they existed as a singular piece. The theme of heroic inspiration runs through four sketches and two photographs from the described collection; two projects depict royal hunting scenes, showing, respectively, a huntsman and a falconer. The "Boyar-mania," which spread in society in connection with the centenary of the Romanov dynasty in 1913, found its reflection in the sketch of a dish with a colorful enamel panel created in the "en plein air" technique. Souvenir ladles, dishes, and bowls often became prizes and gifts for various anniversaries and commemorative events. Since these items were primarily not used for practical purposes, the focus shifted entirely to their decorative qualities. The masters boldly allowed themselves to express their imagination, often experimenting with the sizes of the products. They could be both significantly... --- If you need any further assistance or more details translated, let me know!Here is the translation of the provided text into English: "Both increasing and decreasing proportions, transforming and altering the forms of traditional vessels, and developing unusual ornaments that represented a blend of handicrafts, ancient Russian 'uzorochye,' and interesting observations of nature. F.P. Birbaum emphasized that, despite the inconsistencies and archaic nature of the execution, sometimes creating an impression of template-like quality, all these shortcomings were overshadowed by the freshness of ideas and the absence of standard solutions in the compositions. **The creativity of Fabergé** was a direct reflection of the popular 'cultural demands' of its time. Demonstrating flexibility in accordance with the whims of fashion and the needs of clients, the products could be made in a strict classical style as well as in whimsical rococo or national romanticism. The variety of technical techniques—from artistic sculptural casting and traditional Russian filigree to concise stamped patterns—also contributed to this diversity. Contemporary researcher K. Snowman once described Fabergé as a 'cultural sponge' that absorbed all new trends and currents. The newly discovered complexes of artistic projects from this legendary company allow for a true appreciation of the breadth of the assortment, the diversity of contemporary forms and ornaments, as well as the bold experiments conducted by the artists. They serve as a kind of graphic mini-chronicle, attesting to the creative process of Carl Fabergé."
