Carl Faberge's unparalleled creativity and craftsmanship won him the recognition of the Russian Imperial Court at the turn of the last century. Few objects are as universally loved as his jewel-encrusted Easter eggs crafted for the last two czars of Russia, each containing a surprise. Featured in this delightful introduction to the House of Faberge is a selection of his most celebrated works that have found their way into American collections. Easter eggs are just a portion of this master's prodigious production which comprised over 150,000 jewels, silver pieces, and objects of art. The latter are fantasies in gold, enamel, and hardstone and include elegant picture frames and cigarette cases created for the ruling families of Europe and other wealthy patrons. Intimate glimpses into the world of this ingenious designer are captured through excerpts from letters and quotes from an adoring press. The Dowager Empress Maria Feodorovna exclaimed upon receiving a Faberge egg, "It is an unbelievably beautiful and superbly fine piece of work. Faberge is the greatest genius of our time...". The fifty-four choice objects, beautifully photographed, are from American public and private collections. The book also contains a chronology and a reading list.
In Stradivari’s Genius, Toby Faber charted the fascinating course of some of the world’s most prized musical instruments. Now, in this enthralling new book, he tells the story of objects that are, to many, the pinnacle of the jeweler’s art: the Fabergé imperial eggs. The Easter presents that Russia’s last two czars gave to their czarinas have become synonymous with privilege, beauty, and an almost provocative uselessness. They are perhaps the most redolent symbols of the old empire’s phenomenal craftsmanship, of the decadence of its court, and of the upheavals that brought about its inevitable downfall. Fabergé’s Eggs is the first book to recount the remarkable story of these masterpieces, taking us from the circumstances that inspired each egg’s design, through their disappearance in the trauma of revolution, to their eventual reemergence in the global marketplace. In 1885, Carl Fabergé created a seemingly plain white egg for Czar Alexander III to give to his beloved wife, Marie Fedorovna. It was the surprises hidden inside that made it special: a diamond miniature of the Imperial crown and a ruby pendant. This gift began a tradition that would last for more than three decades: lavishly extravagant eggs commemorating public events that, in retrospect, seem little more than staging posts on the march to revolution. Above all, the eggs illustrate the attitudes that would ultimately lead to the downfall of the Romanovs: their apparent indifference to the poverty that choked their country, their preference for style over substance, and, during the reign of Nicholas II, their all-consuming concern with the health of the czarevitch Alexis, the sickly heir to the throne–a preoccupation that would propel them toward Rasputin and the doom of the dynasty. More than a superb new account of a classic tragedy, Fabergé’s Eggs illuminates some fascinating aspects of twentieth-century history. The eggs’ amazing journey from revolutionary Russia features a cast of characters including embattled Bolsheviks, acquisitive British royals, eccentric artifact salesmen, and such famous business and society figures as Arm and Hammer, Marjorie Merriweather Post, and Malcolm Forbes. Finally, Toby Faber tantalizingly suggests that some of the eggs long thought lost may eventually emerge. Darting from the palaces of a besieged Russia to the showcases of New York’s modern mega-wealthy, Fabergé’s Eggs weaves a story unparalleled in its drama and extravagance. Praise for Stradivari’s Genius “Fascinating . . . lively . . . more enthralling, earthy and illuminating than any fiction could be.” –The New York Times Book Review “A celebration of six instruments and the master craftsman who made them . . . [Faber] brings to the subject an infectious fascination with Stradivari’s life and trade. . . . He writes with clarity and fluency.” –Chicago Tribune “An extraordinary accomplishment and a compelling read. Like strange totems that cast an irresistible spell, these instruments bring out the best and the worst of those who would own them, and Faber deftly tells the stories in all their rich and surprising detail.” –Thad Carhart, author of The Piano Shop on the Left Bank “A worthy contribution to the ongoing legend of Stradivari.” –Minneapolis Star Tribune “Fascinating, accessible, and enjoyable.” –Tracy Chevalier, author of Girl with a Pearl Earring
In Soviet Salvage, Catherine Walworth explores how artists on the margins of the Constructivist movement of the 1920s rejected “elitist” media and imagined a new world, knitting together avant-garde art, imperial castoffs, and everyday life. Applying anthropological models borrowed from Claude Lévi-Strauss, Walworth shows that his mythmaker typologies—the “engineer” and “bricoleur”—illustrate, respectively, the canonical Constructivists and artists on the movement’s margins who deployed a wide range of clever make-do tactics. Walworth explores the relationships of Nadezhda Lamanova, Esfir Shub, and others with Constructivists such as Aleksei Gan, Varvara Stepanova, and Aleksandr Rodchenko. Together, the work of these artists reflected the chaotic and often contradictory zeitgeist of the decade from 1918 to 1929 and redefined the concept of mass production. Reappropriated fragments of a former enemy era provided a wide range of play and possibility for these artists, and the resulting propaganda porcelain, film, fashion, and architecture tell a broader story of the unique political and economic pressures felt by their makers. An engaging multidisciplinary study of objects and their makers during the Soviet Union’s early years, this volume highlights a group of artists who hover like free radicals at the border of existing art-historical discussions of Constructivism and deepens our knowledge of Soviet art and material culture.
This interdisciplinary collection of case studies rethinks corporate patronage in the United States and reveals the central role corporations have played in shaping American culture. This volume offers new methodologies and models for the subject of corporate patronage, and contains an extensive bibliography on corporate patronage, art collections and exhibitions, sponsorship, and philanthropy in the United States. The case studies herein go beyond the usual focus on corporate sponsorship and collecting to explore the complex organizational networks and motivations behind corporate commissions. Featuring chapters on Margaret Bourke-White, Julie Mehretu, Maxfield Parrish, Pablo Picasso, Diego Rivera, Eugene Savage, Millard Sheets, and Kehinde Wiley, as well as studies on Andrew Carnegie, Andrew Mellon, John D. Rockefeller Sr. and Jr., and Dorothy Shaver, and companies such as Herman Miller and Lord and Taylor, this volume looks at a wide array of works, ranging from sculpture, photography, mosaics, and murals to advertisements, department store displays, sportswear, medical schools, and public libraries.
The World of Faberge contains over 750 images & accompanies one of the most ambitious exhibitions ever mounted on the jewelers of the Russian Imperial Court. Many images are from private collections & have never been seen before.
This business magazine covers domestic and international business topics. Special issues include Annual Report on American Industry, Forbes 500, Stock Bargains, and Special Report on Multinationals.
Peter Carl Faberge, court jeweler to the czars, is a name synonymous with beauty, craftsmanship, and sumptuous excess. This exciting book features some of the best photographs ever made of Faberge objects. Over 350 illustrations, 80 in full color.