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Faberge Eggs: the Mystery Behind Them
The Eggs: An Overview
A Brief History
The most important feast of the Russian Orthodox church calendar is Easter. It is celebrated with the
exchanging of eggs and three kisses. The Faberge eggs began in 1884 with an Easter egg made for the czar
that became a gift for his wife, Czarina Maria. The egg reminded the empress of her homeland, and so
from then on it was agreed that Faberge would make an Easter egg each year for Maria. Faberge designed
Easter eggs for another eleven years until Alexander III died. Then Nicholas II, Alexander’s son, continued
the tradition. It was agreed that the Easter gift would always have an egg shape and would hold a surprise.
These projects became top priority of the company and were planned and worked on far in advance–a year
or longer. The surprise was always kept secret.
The designs for the Imperial eggs were inspired by historical art works that Faberge imitated or copied
from his travels or from the Hermitage. However, there is a poignant representation of what is now
Russian history in the design of a number of these eggs. There were eggs to commemorate the coronation
of Czar Nicholas II, the completion of the Trans Siberian Railway, and anniversaries. There were eggs
depicting the Imperial yacht-Standart, the Uspensky Cathedral, the Gatchina Palace, and during the time of
war, the Red Cross and the military.
Faberge’s primary source of inspiration came from works of previous centuries. Translucent enameling
was a valued technique in the nineteenth century that required several coats of applied enamel and the
“firing” of the object in an oven after each coat. However, only a small number of colors were used in the
nineteenth century, and so Faberge took it upon himself to experiment and soon came up with over 140
shades. The most prized of these was oyster enamel which varied in color depending on the light.
Materials used by Faberge included metals – silver, gold, copper, nickel, palladium – that were combined
in varying proportions to produce different colors. Another technique used by eighteenth century French
goldsmiths and again Faberge involve a simple tinting of the completed work using stones and enamel.
Another technique used by Faberge included guilloche, a surface treatment that could make waves and
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striations in the design and could be done by machine or by hand. Faberge used natural stones often found
in abundance in the area. These included jasper, bowenite, rhodonite, rock crystal, agate, aventurine
quartz, lapis lazuli, and jade (nephrite mostly although he would sometimes use jadeite). Precious stones
including sapphires, rubies and emeralds were used only for decoration, and when used they were en
cabochon (round cut). Diamonds were typically rose-cut. Semi-precious stones including moonstones,
garnets, olivines, and Mecca stones were used more often en cabochon.
Fifty six Imperial eggs were made, forty-four of which have been located today and another two that are
known to have been photographed. Another twelve Easter eggs were commissioned by Alexander
Ferdinandovich Kelch, a Siberean gold mine owner. However, the Imperial Easter egg collection
commissioned by the last of the Russian Czars is the most celebrated.
Explanation of Markings
Markings of the eggs included the stamp of the supervising goldsmith. Before 1903, that would be Michael
Perchin (MP note: the “P” is the Russian “P”, which looks like two vertical lines joined together at the top, like
the letter pi. ) for the Faberge eggs. After 1903, it would be Henrik Wigstrom (HW). Also there would be
Russian assay marks. These would show the purity of the precious metal. Metal purity was measured in
zolotniks. About 4 zolotniks equals one karat, so 14 karat gold= 56 zolotniks and 18 karat gold= 72 zolotinks.
Sterling silver (.925 fine) would be 91 zolotniks. There would also be a stamp of the city or region of
origin. For St. Petersburg, the symbol was crossed anchors and for Moscow, St. George and the Dragon. In
1896, Czar Nicholas II ‘s reign saw a shift from localized marks to a national provenance mark, a woman
wearing a kokoshnik.
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Coronation Egg
STATISTICS
Height: 5 inches
Markings: MP (Michael Perchin), crossed anchors, 56
Length of coach: 3-11/16 inches
Date: 1897
DESCRIPTION
This egg is the most popular of all the Faberge eggs. The surface is enamelled translucent yellow applied to
a golden field of starbursts. The egg is trellised with bands of laurel wrought from gold. Opaque, blackenamelled Imperial eagles appear at each trellis intersection. Each eagle carries a small diamond on its
chest. The surprise in this egg is the miniature coronation coach. The accurate and highly-detailed coach
took 15 months to fabricate. Red lacquer and upholstery of the original coach was recreated using red
enamel and the blues of the interior were also fauthfully reproduced in enamels. The gilt coach frame was
reproduced in gold, the iron wheel rims in platinum, and glass windows in etched rock crystal. The coach
is surmounted by an Imperial crown with rose diamonds.
Czarevich Egg
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STATISTICS
Height: 4 inches
Markings: MP (Michael Perchin), crossed anchors, 56
Date: 1912
DESCRIPTION
This Louis XV style egg was fashioned in lapis lazuli and ornamented with chased gold. It was topped with
a tabletop diamond showing the initials of the Czarina, the Imperial crown, and the year (1912). The
bottom is set with a large diamond. The surprise inside ia a double-headed Imperial eagle, covered front
and back with diamonds, with a miniature enamelled protrait of the Czarevich Alexei on the eagle’s chest.
Danish Palaces Egg
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STATISTICS
Height: 4 inches
Markings: MP (Michael Perchin), crossed anchors, 56
Date: 1891
DESCRIPTION
Covered in translucent pink enamel, this egg is topped by a star sapphire and mounted with borders of gold
leaf, diamonds, and emeralds. Inside was the surprise, a screen of miniature portraits by Krijitsky, dated
1891, depicting palaces and houses the Czarina lived in while she was a Danish princess (before she
married Alexander III). The first and last miniatures are of yachts.
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Lilies of the Valley Egg
STATISTICS
Height: 5-5/16 inches, 7-7/8 inches when open
Markings: MP (Michael Perchin), crossed anchors, 56
Date: 1898
DESCRIPTION
One of only two eggs executed in the Art Nouveau style, this golden egg is covered by a multitude of
pearls and is covered with pale pink enamel. The eggs is supported by cabriole legs of matte green-gold
leaves with rose diamond dewdrops. The gold-stemmed lilies of the valley have green enamelled leaves
and pearl flowers. The egg is surmounted by an Imperial crown of rose diamonds and cabachon rubies. A
pearl knob, when twisted, reveals the surprise of this egg: portrait minatures of Czar Nicholas II and his
two oldest daughters: Olga and Tatiana. The portraits are raised by a geared mechanism inside the egg and
causes the portraits to spread fan-like once they have emerged from the egg. The portraits are framed in
rose diamonds and backed with gold panels engraved with the presentation date: April 5, 1898.
Gold Pelican Egg
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STATISTICS
Height: 4-1/8 inches
Markings: MP (Michael Perchin), crossed anchors, 56
Date: 1897
DESCRIPTION
The egg is made of gold and the ornaments are engraved. This is one of the few eggs that is not enamelled
over most of its surface. Surmounting the egg is an enamelled, diamond-studded pelican feeding her
young, an emblem of motherhood. The surprise is that the egg, when taken from its stand, can be opened
up to display a screen of miniatures on ivory by Zehngraf. The miniatures portrayed the Institutions of the
Empress Marie.
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Peter the Great Egg
STATISTICS
Height: 4 inches
Markings: MP (Michael Perchin), crossed anchors, 56
Date: 1903
DESCRIPTION
Serving a dual role, this egg also marked the bicentennial of the founding of St. Petersburg in 1703.
Executed in gold in the extravagant rococo style, the curves are set with diamonds and rubies. The
bulrushes are chased green gold. The spikyheads are set with square rubies. The surprise is that when the
egg is opened, a mechanism within raises a minaiture model in gold of Peter teh Great’s monument on the
Neva, resting on a base of sapphire.
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Renaissance Egg
STATISTICS
Length: 5-1/4 inches
Markings: MP (Michael Perchin), FABERGE, crossed anchors, 56
Date: 1894
DESCRIPTION
Inspired by a jeweled casket in Dresden, Germany (in the Grunes Gewolbe Museum), this piece is richly
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decorated with colorful stones. The name for the egg comes from the source of its inspiration, as well as
the Renaissance-style enamelled foliate motifs. The egg is made of milky chalcedony and trellised with
opaque white enamel gold bands. At each trellis intersection there is a quatrefoil of diamonds with a ruby
center. The egg is bisected by a red enamelled gold band. Under the bisecting band and around the red
enamelled top, the Renaissance-style motifs, set with diamonds and cabochon rubies, are placed. The top
has the date, 1894, set in rose diamonds. The egg, last of the eggs for Czar Alexander III, rests on a golden
base with enamelled red and green flowers and palmettes against a white background. The had two chased
gold lion masks, with loop handles in their mouths. The surprise that came in this egg has been lost and is
unknown.
Resurrection Egg
STATISTICS
Height: 3-7/8 inches
Markings: MP (Michael Perchin), crossed anchors, 56
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Date: 1887
DESCRIPTION
The clear rock crystal egg rests on a fluted quatrefoil base that is colorfully enamelled in a Renaissanceinspired design of translucent green, red, and blue arabesques between bands of opaque white enamel
dotted with red enamel. The base features four pearls and panels of rose diamonds and eight brilliant-cut
diamonds. The base supports a large pearl which is connected to the crystal egg with gold mounts. The egg
itself is banded with gold and diamonds. The resurrection group featured inside is Christ rising from the
tomb, flanked by two angels. The figures are enamelled in opaque colors quite naturistically. This was only
the second egg of the Imperial egg series. it had no surprise within. It is also the only Imperial Faberge egg
with a direct reference to the Easter holiday it was created to observe.
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