Bolshaya Morskaya ulitsa 24
Closed to public
Bus: 3, 22, 27
Tram: 5, 22
The illustrious House of Fabergé represents the zenith of opulent
jewelry and decorative craftsmanship, renowned globally for its
unparalleled ingenuity and ties to Russia's imperial grandeur.
Initiated in 1842 by Gustav Fabergé within the bustling confines of
Saint Petersburg, the enterprise ascended to legendary status
largely due to the creative prowess of his son, Peter Carl Fabergé,
who infused it with a unique blend of Russian cultural motifs and
refined European aesthetics. This firm became a symbol of lavish
artistry, most notably through its elaborate Imperial Easter eggs,
which captivated the elite and royalty alike. Saint Petersburg, as
the empire's glittering capital, offered an ideal setting for
Fabergé's growth, drawing on the city's artistic vibrancy, courtly
influences, and cosmopolitan exchanges to produce works that
resonated across Europe and beyond, until the upheavals of the 1917
Russian Revolution led to its abrupt cessation.
In contemporary
times, the essence of Fabergé persists vibrantly in Saint Petersburg
at the dedicated Fabergé Museum, nestled in the majestic Shuvalov
Palace along the Fontanka River Embankment. This institution
safeguards the most extensive array of Fabergé treasures worldwide,
serving as a bridge to the city's storied past.
The roots of the Fabergé family extend back to
Huguenot Protestants from Picardy, France, who fled religious
intolerance following the 1685 revocation of the Edict of Nantes,
resettling in Germany and later the Baltic territories under Russian
rule. Gustav Fabergé, born in 1814 in Pernau (present-day Pärnu,
Estonia), honed his skills as a jeweler in Saint Petersburg,
apprenticing under notable figures like Andreas Spiegel and at the
Keibel firm, which catered to the imperial family. In 1842, after
marrying Charlotte Jungstedt, he launched his own modest atelier in a
basement on Bolshaya Morskaya Street, specializing in gold and silver
wares, restorations, and bespoke commissions for the local aristocracy.
The transformation into a powerhouse occurred in 1872 when Peter Carl
Fabergé, often called Carl, inherited the business. Educated at Saint
Petersburg's Annenschule and further trained in Dresden, Carl embarked
on a formative Grand Tour across Europe in the 1860s, apprenticing with
master jewelers in Frankfurt, Paris, and London, while immersing himself
in museum collections in Florence and beyond. He innovated by
prioritizing artistic design over mere gem value, reviving ancient
techniques such as guilloché enameling—where intricate machine-engraved
patterns like rays or moiré are overlaid with translucent enamels in up
to 144 hues for a shimmering, pearlescent finish—and incorporating
unconventional materials like semi-precious stones, horn, and celluloid.
Under Carl's guidance, the workforce swelled to over 500 skilled
artisans, including luminaries like Michael Perkhin, Henrik Wigström,
and Julius Rappoport, who operated from expanded facilities. Branches
proliferated: Moscow in 1887, Odessa in 1900, Kyiv in 1906, and London
in 1903, yet Saint Petersburg's headquarters, relocated to a grand
neo-Gothic structure at 24 Bolshaya Morskaya Street designed by
architect Carl Schmidt, remained the nucleus, encompassing workshops,
design studios, showrooms, and family apartments. Pivotal accolades
included a gold medal at the 1882 Pan-Russian Exhibition in Moscow,
which drew the attention of Tsar Alexander III, culminating in the
firm's designation as an official court supplier in 1885, complete with
the privilege of using the imperial double-headed eagle mark. Further
honors followed, such as a special diploma at the 1888 Nordic Exhibition
in Copenhagen and a triumphant showing at the 1900 Paris Exposition
Universelle, where Fabergé earned the Légion d’Honneur and international
prestige.
The House of Fabergé's most enduring emblem is the
series of 50 Imperial Easter eggs, commissioned annually from 1885 to
1917 as personal gifts from Tsars Alexander III and Nicholas II to their
empresses and dowager empresses. This tradition originated with the Hen
Egg of 1885, a deceptively simple white enameled orb concealing a golden
yolk, a surprise hen, a tiny diamond crown, and a ruby pendant, evoking
Easter symbolism while delighting with hidden wonders. Designs evolved
into breathtaking complexities, often requiring a full year of labor:
the 1897 Coronation Egg, commemorating Nicholas II's ascension with a
miniature golden coach; the 1895 Rosebud Egg, revealing a budding yellow
rose symbolizing young love; the 1898 Lilies-of-the-Valley Egg,
festooned with pearls, diamonds, and rubies in an Art Nouveau floral
motif; the 1904 Chanticleer Egg, featuring a clockwork rooster that
emerges to crow; and the somber 1916 Order of St. George Egg, crafted
amid World War I with military themes and a portrait miniature, marking
the last in the series. These eggs frequently incorporated historical
references, such as Romanov tercentenary celebrations or personal family
milestones, using materials like rock crystal, platinum, and thousands
of diamonds.
The repertoire extended far beyond eggs to "objets de
fantaisie"—whimsical, non-functional delights including lifelike
stone-carved flowers like the Pansy in a rock crystal vase, polychrome
hardstone figurines of dancing peasants or bunnies with diamond eyes,
and animated pieces such as a silver mechanical rhinoceros. Jewelry
encompassed brooches, pendants, cufflinks, and cigarette cases in gold
and silver, often with champlevé or plique-à-jour enamels, rose-cut
diamonds, and chalcedony accents. Silverware featured neo-Russian style
tea sets with ancient motifs, kovsh vessels adorned with griffins, and
elaborate ship boards for naval cruisers. Devotional objects included
ornate icons with filigree enamel frames, reliquaries, and folding
triptychs depicting saints like Nicholas the Wonderworker or the Mother
of God of Kazan, blending spiritual significance with luxurious
craftsmanship. The firm also catered to international royalty, earning
titles as court jeweler to Sweden-Norway, Britain under George V, and
Siam's King Chulalongkorn, with diplomatic gifts like enameled clocks
for Danish monarchs.
The onset of World War I in 1914 redirected Fabergé's
resources toward utilitarian wartime production, such as syringes in
Saint Petersburg and artillery components in Moscow. The 1917 Bolshevik
Revolution precipitated the firm's downfall: workshops were seized, and
Carl Fabergé fled via Riga to Germany and then Switzerland, where he
succumbed in 1920. His sons endured imprisonment before escaping; Eugene
and Alexander reestablished Fabergé & Cie in Paris in 1924, focusing on
restorations and limited new works. The brand name fragmented in the
ensuing decades: sold unauthorized for perfumes in 1937, it passed
through conglomerates like Rayette (1964), McGregor (1984), and Unilever
(1989), even extending to unrelated products. A pivotal reunion occurred
in 2007 when Fabergé Limited reclaimed the trademarks, forming a
Heritage Council with family descendants and relaunching in 2009 with
collections like Les Fabuleuses. Subsequent acquisitions by Gemfields in
2013 emphasized colored gemstones, with innovative lines such as Colours
of Love, Treillage watches, and collaborations like the 2018 Rolls-Royce
egg. As of 2025, ownership shifted to SMG Capital, continuing global
expansions including boutiques in Dubai and Europe.
Back in Saint
Petersburg, the historic Bolshaya Morskaya headquarters now accommodates
luxury retailers, inaccessible for public viewing. The Fabergé Museum,
inaugurated in 2013 by billionaire Viktor Vekselberg via the Link of
Times Foundation, occupies the meticulously restored 18th-century
Naryshkin-Shuvalov Palace, a architectural gem with grand staircases,
sculptures, and cupolas. Spanning 12 opulent rooms, it boasts over 4,000
artifacts, including the second-largest grouping of Imperial eggs (nine
in total, such as the Renaissance and Blue Serpent Clock eggs),
alongside fantasy objects, jewelry, silverware by rivals like Ivan
Khlebnikov and Pavel Ovchinnikov, porcelain, bronzes, and repatriated
Forbes collection pieces from 2004. Amenities enhance the experience: a
gift shop with replicas, books, and modern Russian jewelry; a café
blending Russian and European fare amid contemporary art; multilingual
guided tours; and a virtual online exploration of the palace's interiors
and exhibits.
The House of Fabergé's contributions transcend mere luxury, embodying the apex of late 19th- and early 20th-century Russian applied arts during the Romanov dynasty's twilight, merging national romanticism with Art Nouveau and neoclassical elements. Its emphasis on surprise, meticulous detail, and innovative materials has inspired countless jewelers, while appearances in literature, cinema, and international shows underscore its timeless appeal. In Saint Petersburg, the museum not only preserves these relics but also fosters education through temporary displays, workshops on techniques like enameling, and events delving into the era's historical context. For travelers, it's an essential destination, with online ticketing and tours available to delve into this chapter of imperial elegance, ensuring Fabergé's enchantment continues to captivate generations.