View allAll Photos Tagged Autobiography
Been playing around with this portrait of my Grandfather. I can't decide which crop to use for the shot. Any suggestions would be helpful.
... you've gotta love the moustache :-)
PLEASE VIEW LARGE :-)
2025
"Koreality" solo, drawings and objects at Mayer49 in Frankfurt/M.
2024
"Fermentalitäten" MixedMediaTalk at Mayer49 in Frankfurt/M.
"Germany_Harmony", solo, drawings and objects, 18_1 gallery, Busan.
2023
LP and CD covers, group exhibition by Trikont, Haus der Kunst, München.
2021
Quo Vadis, video art with Massimo Magee, Chamäleon Verbindung #3, Kassel.
Ersatzkunst in Frankfurt. Die Wüsten-Jahre 1975-1985, group exhibition AusstellungsHalle, Schulstraße 1A, Frankfurt/Main.
2019
Seongbuk Documenta 6, group exhibition, Choi Manlin Museum, Seoul.
Robinson Crusoe's Gong, group exhibition, Drawing Space Saalgoo, Seoul.
2018
LP and CD covers, Drawing Space Saalgoo, Seoul.
LP and CD covers group exhibition by FMP, Akademie der Künste, Berlin.
Seoul Drawing Club: The Depth of my Drawing is insurmountable, group exhibition, 175 gallery, Seoul.
18 Years Creativeness in Corea, yogiga pal.gallery, Seoul
2017
Sengak Gagae III, in the context of Seongbukdong Art Commons. Seoul.
LP and CD covers group exhibition by FMP, Haus der Kunst, München.
어둠song/Im Dunkeln singen, sound art homage to Yun Isang (100th birthday), solo exhibition, Drawing Space Saalgoo, Seoul.
2016
Songs From Knee To Chin, with/for Kim Sora,
National Museum of Modern and Contemporary Art (MMCA), Korea.
Sengak Gagae II, Seongbuk Little Gallery and Seongbuk Young Art Museum, group exhibitions, Seoul.
Campanula, installation + performance with John Bell, Drawing Space Saalgoo, Seoul.
2015
Camellia tour, installation & video, SALT gallery, Gwangju.
Seongbuk Art Village Mayfest, group exhibition, Seoul.
Head Pieces, Happyi Mistake 6, group exhibition, Seoul.
2014
Universal Studios, Seoul Museum of Art (SEMA), group exhibition in Seoul.
pre-al@rm!, Galerie Isola-Art Brut, group exhibition in Frankfurt/Main.
2013
The Name Is Burroughs - Expanded Media, Deichtorhallen/Sammlung Falckenberg, group exhibition in Hamburg-Harburg.
Real DMZ, Artsonje Center, group exhibition in Seoul.
A4 Hysteria, Too Much Hysteric, group exhibition in Seoul.
2012
The Name Is Burroughs - Expanded Media, Zentrum für Kunst und Medientechnologie (ZKM) group exhibition in Karlsruhe.
LP and CD covers group exhibition by ECM, Haus der Kunst, München
2011
The Sound Of Nowhere, group exhibition in Beijing.
2010
Online Project Room at Dinter Fine Art, New York.
2009
Art Postcards, group exhibition at Kunst Archiv Darmstadt.
2007
Kabuki Elvis vs. Hulk Sushi, Hotelroom exhibition, Tokyo.
2006
Videos at Atelier Yitronik, Seoul.
Wake Up Andy Warhol, Gallery Ssamzie-Gil, collaboration with Yi Soonjoo.
2005
DVD T_error.
Photo exhibition & concert at Morishita Culture Center, Tokyo.
2004
Digital photos at Studio Boeffgen, Frankfurt/Main.
625 multimedia solo at Space T, Seoul. Alf in Aghfanistan frame-rec-videos & numarkCDX at synthetic lab, Seoul.
Hotelroom exhibition, Paris.
2003
Performances at Bulgasari, Seoul.
Where are you? group exhibition at Marronnier Art Center, Seoul.
2002
Installations & 900 photos of Seoul, Ssamzie-Space, Seoul.
Terror Milk and Provisional Government, multimedia performances with Gim Hyung Tae, Ssamzie-Space Baram Theatre and Sal, Seoul.
2001
Selbstorganisation und Marktsituation, group exhibition at Kunsthalle Baden-Baden.
AHIB performance with Indulis Bilzens, river Main shore, Frankfurt/M, Xerox book.
6 months residency at Art Ssamzie-Space, Seoul, Korea.
2000
art & music OMI - residency in the State of New York,USA.
al@rm, mixed media with Hermann Feuchter and H.P.Boeffgen at Tonfilmstudio Boeffgen, Frankfurt/M.
tattoo, group exhibition with Carmen Berr and Petra Scheibe-Teplitz, Galerie ART form, Frankfurt/M.
1999
Video-Bar, group exhibition at Galerie Voges+Deisen, Frankfurt.
Michelangelo is Shopping, group exhibition Kunstverein Rastatt.
SLOW - Sogenannte Laecherliche Ohnmachts Weltwache, Street-action against the war in Kosovo.
Alles über Robert Mayer, at Tonfilmstudio Boeffgen, Frankfurt.
1997
Gedankenhotel, solo exhibition at Galerie ART form, Frankfurt/M.
ear as eye, group exhibition at LACE, Los Angeles.
1996
Die Geheimnisse des Hauses Cajeth, photo-exhibition with Dietrich Harth, Heidelberg.
Midia-Bilder, solo exhibition at Klosterpresse, Frankfurt.
1995
Offene Ateliers, group exhibition at IWKA Karlsruhe.
1994
Delikatesy Avantgarde, with Robert Knuth, Vollrad Kutscher a.o., Academy G'dansk/Danzig, Poland.
Wilhelm Leuschner zum Gedenken, street-installation, Frankfurt.
Timezoneyes, Cine-pictures of tours of A23H's bands in foreign cities.
Tensides, solo exhibition at Deutsches Filmmuseum, Frankfurt/M.
Talisman of Karl V, Videoperformance with Ginteras Seputis, Schloss Solitude.
1993 - 1995
Gedankenhotel in Frankfurt am Main.
1993 Tango - 11 Jahre danach, group exhibition in Frankfurt/M.
Balance Action, 39.Oberhausener Kurzfilmtage and Filmfest Frankfurt/M.
Gedankensmog, solo exhibition at Blinder Koenig, Frankfurt.
19.Alfabet, Performance with Dmitri Prigov and Vladimir Tarasov, HfbK, Hamburg.
Planetarische Faktoten der Weltwache, solo exhibition lithography & amp etchings, Klosterpresse, Frankfurt.
1991
Block & Manifest, Aktion at Disco Cookys, Frankfurt.
1990
Avantiere V, group exhibition in Aachen.
Performance with Dmitri Prigov, 1.Kasseler Videosalon, Documenta-Archiv.
1989
Performance-Party, Kunstmuseum Bern.
Kommt der Koerper wieder zu sich, solo exhibition Kulturzentrum Gütersloh.
Wenn Gott tot ist, dann ist er im Himmel, audioperformance at Atelier Kutscher, Frankfurt.
1988
Zeichnungen 78/88, solo exhibition and performance at Galerie Endart, Berlin.
Manifest Instant City Happiness-Factory.
1987
Telephone-concert, group performance at Schirn Frankfurt.
Red Art, solo performance at Stadtgalerie Saarbruecken.
1986
Art and Music, Maurfestival near Zuerich, Switzerland.
Mount Just Da and Ein Feste Burg performances by PSI TO LEN with Indulis Bilzens,Ruesselsheim.
Amphibisches Match, together with Ole Schmidt at the Under Water Concert Stadtbad Mitte, Frankfurt.
1985
Sam Lang, Video-Installation, MTV, Frankfurt.
1984
Marry the World By Conference Call, at waschSalon Galerie, Frankfurt.
1983
Bilder & Musik, solo exhibition with concert (Populäre Mechanik), Galerie A.Vant, Berlin.
Schamanistische Materialbilder, Offenbach.
1982
Lenin, group exhibition Frankfurt.
1981
Mein Trip mit Adolf Hit, solo exhibition at exo-galerie, Berlin.
1978
Arbeiten 1963 -78, at Atelier Hanussek, ehemalige Schuhfabrik Bonames, Frankfurt.
1968
Aktion Büdingen-Düdelsheim.
1966 - 1968
centrum freier cunst Frankfurt/Main. Diverse exhibitions, experimental literature, free music.
art studies:
1966 - 1968 Johann Wolfgang von Goethe Gymnasium, Frankfurt/Main.
1970 - 1973 Johann Wolfgang von Goethe University, Frankfurt/Main.
1975 - 1978 art teacher.
Since 2005 Open Letter A23H flickr image site (art pictures & majority of photos may only be visible if you contact A23H for it).
Since 2006 Little Souvenirs Diverse A23H videaudios on YouTube.
In telepathy, the fine vibrations of thoughts in one man's mind are transmitted through the subtle vibrations of astral ether and then through the grosser earthly ether, creating electrical waves that, in turn, transform themselves into thought waves in the mind of the other person.
--Paramahansa Yogananda, Autobiography of a Yogi
4 Decades Of Loving Duran Duran, And Finally… - IMRAN™
Duran Duran was one of the great New Wave / New Romantics type music groups I loved during my youth in Lahore, Pakistan. Even in a conservative Muslim country like that, where swooning over music groups was unheard of at least in the 1980s, I think my teenage sister Ambereen & her friends all had a joint “crush” on Simon Le Bon. She may like knowing that Simon named his eldest daughter Amber. 😊
During the 80s I loved their music and also title song for a James Bond film. They sort of faded from the scene until they released Decade In 1989, literally the year I came to America for my Columbia MBA.
A few years later, in 1993, two of their most meaningful and sentimental songs, very different from their previous hits, were released. “Ordinary World” as well as “Come UnDone” came out at a very poignant time for me.
They resonated very closely with relationships in my life and are forever associated with the end of a very special love that specific year. The songs perfectly marked the end of an era of infinite possibilities, and start of a whole incredible new life for me.
A full three decades later, this start of summer weekend in 2023, I finally got around to seeing Duran Duran live, in Tampa. And what an absolutely incredible experience it was. They opened with Night Boat, which is an ok song to me, much that I love night boating. But, every single song they played after that was,and still remains, on my favorites list.
© 2023 IMRAN™
#IMRAN #concert #music #MusicGroup #legend #rockstars #DuranDuran #love #life #memories #eighties #nineties #history #family #autobiography #stories
new set with this awsome range rover in diferent location in bucharest and transfagarasan, shooting for a commercial . follow my work on facebook.com/ciprianmihaiphotography
Been playing around with this portrait of my Grandfather. I can't decide which crop to use for the shot. Any suggestions would be helpful.
... you've gotta love the moustache :-)
PLEASE VIEW LARGE.
It could well have been the first camera i took a photo with as we had one in the house when I was a kid. This particular one was a gift from my husband a few Christmases ago. The photos here were taken with Impossible film.
52 Weeks of 2019
Week No. 6: Autobiography in four parts: Chapter 1
Category: Creative
Jean-Jacques Rousseau (UK: /ˈruːsoʊ/, US: /ruːˈsoʊ/ French: [ʒɑ̃ ʒak ʁuso]; 28 June 1712 – 2 July 1778) was a Genevan philosopher, writer, and composer. His political philosophy influenced the progress of the Age of Enlightenment throughout Europe, as well as aspects of the French Revolution and the development of modern political, economic, and educational thought.
His Discourse on Inequality and The Social Contract are cornerstones in modern political and social thought. Rousseau's sentimental novel Julie, or the New Heloise (1761) was important to the development of preromanticism and romanticism in fiction. His Emile, or On Education (1762) is an educational treatise on the place of the individual in society. Rousseau's autobiographical writings—the posthumously published Confessions (composed in 1769), which initiated the modern autobiography, and the unfinished Reveries of the Solitary Walker (composed 1776–1778)—exemplified the late 18th-century "Age of Sensibility", and featured an increased focus on subjectivity and introspection that later characterized modern writing.
Facebook Page : www.facebook.com/snatchphotographie
Press ' F ' If You Like
- Follow Me On : Tumblr
- Share On My : My Group
© 2014 Snatch Photographie, tous droits réservés | All Rights Reserved
11/12/2010 by 1crzqbn
Please view large, MUCH better! View On Black
Or view in the Lightbox, press L
Edited book cover, Undoctored by Adam Kay.
The story of a medic who ran out of patients. Kay is a comedian and writer, and was previously a doctor.
Sydney
Dhaka, Bangladesh, 2012
Street is a stage of real life drama
Street is a story of emotion and reality
You, me we all are the silent participants.
We have come to stay for a while and then we are gone for forever
But streets remain forever, conserving all the memories of those forgotten footprints.
Chapter 4 of my Autobiography every chapter linked with the languages I have learnt both at school and at university. Later as a teacher I have worked with all these languages. Couldn't find any photos of me in Paris so in this chapter it just had to be a souvenir instead.
Dhaka, Bangladesh, 2012
Street is a stage of real life drama
Street is a story of emotion and reality
You, me we all are the silent participants.
We have come to stay for a while and then we are gone for forever
But streets remain forever, conserving all the memories of those forgotten footprints.
Dhaka, Bangladesh, 2012
Street is a stage of real life drama
Street is a story of emotion and reality
You, me we all are the silent participants.
We have come to stay for a while and then we are gone for forever
But streets remain forever, conserving all the memories of those forgotten footprints.
Find me at Getty Images and 500px
new set with range rover autobiography , follow me on facebook : facebook.com/ciprianmihaiphotography
Old Dhaka, Bangladesh, 2013
Street is a stage of real life drama
Street is a story of emotion and reality
You, me we all are the silent participants.
We have come to stay for a while and then we are gone for forever
But streets remain forever, conserving all the memories of those forgotten footprints.
Find me at Getty Images and 500px
The link between the different chapters will be the languages I have learnt. Starting with Swedish which is my mother tongue.
The first foreign language I learnt at school was English.
Chapter one in first comment box.
new set with this awsome range rover in diferent location in bucharest and transfagarasan, shooting for a commercial . follow my work on facebook.com/ciprianmihaiphotography
Reptile shifted his grip. “You know, I used to be so serene before I came here.”
Serpent eyebrow and asked “Why are you not serene anymore?”
“Mostly routine,” replied Reptile. “I used to meditate on Harry Houdini’s autobiography.”
“Why did you stop?” asked Serpent.
“Eh,” pondered Reptile. “The reason escapes me.”
~
LittleFears.co.uk | Patreon | Etsy | Kindle | Skillshare| Threadless
for *ღღ* Cosas de casa *ღღ*": Books
'Ma Vie' by Marc Chagall. The autobiography is illustrated with line drawings. This chapter tells of the birth of Chagall's daughter.
"Presque aussitôt après sa naissance, nous l'avons emportée a la campagne. Un nouveau-né ce n'est pas un vase fragile. Ma femme l'a emmitouflée de la tête jusqu'aux pieds afin qu'elle ne prenne pas froid."
Almost straightaway after she was born, we took her out to the countryside. A new-born baby is not like a fragile vase. My wife wrapped her up from head to toe so that she did not catch cold.
So that is the practical aspect of a new baby but the drawing, which introduces the chapter, gives a touch of humour:
Chagall, the new father, reclines on the bed.
Beside him, his newly born daughter extends her hand towards her father.
In turn Chagall holds out his hand to his wife, the newly-delivered mother, who is kindly bringing her husband a hot drink.
new set with this awsome range rover in diferent location in bucharest and transfagarasan, shooting for a commercial . follow my work on facebook.com/ciprianmihaiphotography
new set with range rover autobiography , follow me on facebook : facebook.com/ciprianmihaiphotography
Newmarket, Dhaka, Bangladesh, 2012
Street is a stage of real life drama
Street is a story of emotion and reality
You, me we all are the silent participants.
We have come to stay for a while and then we are gone for forever
But streets remain forever, conserving all the memories of those forgotten footprints.
Find me at Getty Images and 500px
Un huevo de Fabergé es una de las sesenta y nueve joyas creadas por Carl Fabergé y sus artesanos de la empresa Fabergé para los zares de Rusia, así como para algunos miembros de la nobleza y la burguesía industrial y financiera, entre los años 1885 y 1917. Los huevos se consideran obras maestras de la joyería.
La fiesta más importante del calendario de la Iglesia ortodoxa rusa es la Pascua. Se celebra con tres besos y el intercambio de huevos de Pascua. Por lo que respecta a los huevos imperiales de Fabergé, estos comenzaron a fabricarse en 1885 cuando el zar Alejandro III encargó un huevo de Pascua para su esposa, la emperatriz María Fiódorovna. El huevo recordaba a la patria de la emperatriz, Dinamarca, ya que el joyero se había inspirado en un huevo de pascua que se encontraba en las colecciones reales danesas y tanto agradó a la zarina que el zar ordenó que Peter Carl Gustávovich Fabergé fabricara un huevo de Pascua cada año para la zarina, estipulando solamente que el huevo fuese único y que encerrase una sorpresa.
También en 1885 Fabergé fue nombrado proveedor oficial de la corte imperial rusa. El joyero y su equipo de orfebres y artesanos, entre ellos maestros joyeros como el ruso Michael Perkhin y los finlandeses Henrik Wigström y Erik August Kollin, diseñaron y confeccionaron huevos de Pascua durante once años más para Alejandro III de Rusia hasta que este falleció, continuando su hijo y sucesor Nicolás II con la tradición. Estos proyectos se convirtieron en prioridad absoluta de la compañía y fueron planeados y trabajados con un año o más de antelación: la sorpresa que contenía el huevo se mantenía siempre en secreto.
Para el diseño de los huevos imperiales Fabergé se inspiró en distintos estilos artísticos europeos, como el Barroco, el Rococó, el Neoclásico o el Modernista, así como en obras de arte que contempló durante sus estancias y viajes por Europa. Había huevos creados para conmemorar acontecimientos tales como la coronación del zar Nicolás II, la terminación del ferrocarril Transiberiano, así como para celebrar aniversarios importantes. Otros huevos guardaban en su interior el yate imperial Standart, la catedral de Uspensky, el palacio de Gátchina o el palacio Alejandro, por citar unos ejemplos.
De los 69 huevos que hizo en total la Casa Fabergé para los zares, la aristocracia y la élite industrial y financiera, se conservan 61. Se conocen cincuenta y dos huevos imperiales, cuarenta y cuatro de los cuales se han localizado hoy, entre ellos los dos últimos de 1917 que nunca fueron entregados ni terminados a causa de la Revolución rusa, destacando el huevo de la constelación del Zarévich. Los restantes 8 huevos imperiales se consideran perdidos o desaparecidos (Stalin ordenó venderlos para recaudar fondos1); dos se conocen solamente por haber sido fotografiados en primer plano, otros tres se han descubierto en 2007, dos de ellos en una foto tomada a una vitrina de la zarina María Fiódorovna, donde aparece el tercer huevo imperial (este huevo fue recientemente descubierto y será rematado)2 y el huevo con querubín y carruaje, este último quedó reflejado en el cristal de la misma, en cuanto al huevo del neceser figura en una fotografía de la joyería Wartski, Londres, en la parte inferior de una vitrina. No se tiene ningún documento visual de los otros tres.
Otros siete huevos de Pascua fueron encargados por Alejandro Ferdinándovich Kelch, dueño de minas de oro en Siberia, para su esposa Bárbara. Asimismo personajes de la época como Alfred Nobel, el Príncipe Yusúpov, los duques de Marlborough entre otras personas de categoría no imperial encargaron los suyos, sumando un total de ocho huevos. Sin embargo, la colección imperial de huevos de Pascua encargada por los dos últimos zares rusos es la más famosa.
Entre los materiales usados por Fabergé figuran metales como el oro, platino, plata, cobre, níquel, paladio y acero, los cuales fueron combinados en distintas proporciones con el fin de conseguir diferentes colores para la "cáscara" del huevo.
Otra técnica usada por Fabergé fue la conocida como guilloché, un tratamiento de grabado superficial sobre metal que consiste en hacer ondas, estrías o cualquier otro dibujo, de un modo repetitivo y simétrico, que se podía realizar a máquina o a mano. Fabergé se mostraba orgulloso de que todas las materias primas que se empleaban en su taller provenían de distintas partes de Rusia. Muchos huevos incluían minerales como el jaspe, la malaquita, la rodonita, el cristal de roca, el ágata, la aventurina, el lapislázuli y el jade (nefrita sobre todo, aunque usaba a veces la jadeíta). El huevo de 1917, destinado a la zarina María Fyodorevna, estaba realizado en madera de abedul de Karelia.
Las piedras preciosas, incluyendo los zafiros, los rubíes y las esmeraldas, fueron utilizadas para la decoración de los huevos y/o la sorpresa que contenían. Cuando se usaban era en la talla conocida como cabujón (corte redondo). En cuanto al tipo de talla empleada para los diamantes, era la típica talla rosa. Por otra parte también se emplearon piedras semipreciosas como las piedras de luna, los granates, los olivinos y las piedras de Mecca, usadas más a menudo en la talla cabujón.
La fuente primaria de inspiración de Fabergé venía de los trabajos de siglos anteriores. El esmalte translúcido era una técnica muy valorada en el siglo XIX, que requería de varias capas de esmalte que se secaban en un horno después de aplicar cada capa. Sin embargo, durante el siglo XIX se disponía solamente de una limitada gama de colores, de modo que Fabergé experimentó y pronto aumentó su paleta de colores hasta lograr más de 140 tonalidades diferentes. El más apreciado fue el esmalte de ostra, el cual variaba de color dependiendo de la luz.
La Casa Fabergé fabricó, entre otros tantos objetos decorativos, accesorios para escritorio y joyas y muchos más huevos de Pascua, pero los más célebres son los que a continuación se detallan.
es.wikipedia.org/wiki/Huevo_de_Fabergé
www.san-petersburgo.net/museo-faberge/
A Fabergé egg (Russian: Яйца Фаберже́, yaytsa faberzhe) is a jewelled egg (possibly numbering as many as 69, of which 57 survive today) created by the House of Fabergé, in St. Petersburg, Imperial Russia. Virtually all were manufactured under the supervision of Peter Carl Fabergé between 1885 and 1917, the most famous being the 52 "Imperial" eggs, 44 of which survive, made for the Russian Tsars Alexander III and Nicholas II as Easter gifts for their wives and mothers.
The first Fabergé egg was crafted for Tsar Alexander III, who had decided to give his wife, the Empress Maria Feodorovna, an Easter egg in 1885, possibly to celebrate the 20th anniversary of their betrothal. Although there is no official record of the Tsar's inspiration for it, many believe that he was moved by an egg owned by the Empress's aunt, Princess Vilhelmine Marie of Denmark, which had captivated Maria's imagination in her childhood and of which the Tsar was well aware. Known as the Hen Egg, the very first Fabergé egg is crafted from a foundation of gold. Its opaque white enameled "shell" opens to reveal a matte yellow-gold yolk. This in turn opens to reveal a multicolored gold hen that also opens. The hen contained a minute diamond replica of the imperial crown from which a small ruby pendant was suspended, but these last two elements have been lost.
Maria was so delighted by the gift that Alexander appointed Fabergé a "goldsmith by special appointment to the Imperial Crown" and commissioned another egg the next year. After that, Peter Carl Fabergé was apparently given complete freedom for the design of future imperial Easter eggs, and their designs became more elaborate. According to Fabergé family lore, not even the Tsar knew what form they would take—the only requirements were that each contain a surprise, and that each be unique. Once Fabergé had approved an initial design, the work was carried out by a team of craftsmen, among them Michael Perkhin, Henrik Wigström and Erik August Kollin.
After Alexander III's death on 1 November 1894, his son, Nicholas II, presented a Fabergé egg to both his wife, Alexandra Fedorovna, and his mother, the Dowager Empress Maria Fedorovna. Records have shown that of the 50 imperial Easter eggs, 20 were given to the former and 30 to the latter. Eggs were made each year except 1904 and 1905, during the Russo-Japanese War.
The imperial eggs enjoyed great fame, and Fabergé was commissioned to make similar eggs for a few private clients, including the Duchess of Marlborough, the Rothschild family and the Yusupovs. Fabergé was also commissioned to make twelve eggs for the industrialist Alexander Kelch, though only seven appear to have been completed.
Following the revolution and the nationalization of the Fabergé workshop in St. Petersburg by the bolsheviks in 1918, the Fabergé family left Russia. The Fabergé trademark has since been sold several times and several companies have retailed egg-related merchandise using the Fabergé name. The Victor Mayer jewelry company produced limited edition heirloom quality Fabergé eggs authorized under Unilever's license from 1998 to 2009. The trademark is now owned by Fabergé Limited, which makes egg-themed jewellery.
In 2015 the owners of this trademark announced the creation of a new "Fabergé" egg, one styled by them as belonging to the "Imperial Class" of eggs and therefore the first Imperial-Class egg in 100 years: the Fabergé Pearl egg is to be sold in Qatar following a five-day exhibition some time in 2017. A spokesperson for the brand said it expected the egg to fetch at least two million US dollars, possibly much more. Despite its designation as "Imperial", it has no connection to Imperial Russia and instead has become closely tied to wealthy Arab ruling families of various Gulf Nations.[4] Its motif has been described as "scalloped", but the patterns of its curves and lines are also clearly derived from the girih and arabesque of Islamic interlace patterns, and each of its six vertical segments includes a stylized pointed dome and associated pendentives reminiscent of the onion dome and ceiling of an Arabic mosque.
en.wikipedia.org/wiki/Fabergé_egg
Peter Carl Fabergé, conocido también como Karl Gustavovich Fabergé (en ruso, Карл Густавович Фаберже) (30 de mayo de 1846, San Petersburgo, Rusia – 24 de septiembre de 1920, Lausana, Suiza), fue un joyero ruso. Es considerado uno de los orfebres más destacados del mundo, que realizó 69 huevos de Pascua entre los años 1885 a 1917, 61 de ellos se conservan.
En 1870 pasa a ser el responsable de la empresa familiar de joyería en San Petersburgo. Con una excelente reputación como diseñador, trabaja con piedras preciosas y metales, y realiza diseños de diferentes estilos como ruso antiguo, griego, renacentista, barroco, Art Nouveau, naturalista y caricaturesco.
Sus obras fueron expuestas en la Exposición Panrusa de Moscú de 1882 y recibieron la medalla de oro. Recibió el nombramiento de orfebre y joyero de la Corte Imperial Rusa y de otras muchas monarquías europeas. Fabricó joyas con forma de huevos de Pascua de oro y esmalte, animales en miniatura, cálices, bomboneras y otros objetos
Para la Pascua de 1885, el zar Alejandro III le encargó al orfebre Peter Carl Fabergé la construcción de un huevo para regalarle a su mujer, la zarina María. El regalo consistió en un huevo con cáscara de platino que contenía dentro uno más pequeño de oro. Al abrirse este último, se encontraba una gallina de oro en miniatura que tenía sobre su cabeza una réplica de la corona imperial rusa. Este particular Huevo de Pascua le gustó tanto a la emperatriz que el zar le ordenó a Fabergé que realizara uno nuevo para cada Pascua.
Once fueron en total los huevos que Alejandro III le regaló a su mujer. Luego, su hijo Nicolás II continuó con esta tradición y mandó realizar otros para regalarle a su mujer y a su madre. Los 57 huevos que confeccionó la casa Fabergé tenían en su interior algún obsequio, réplica en miniatura de una de las pertenencias de los zares.
La Revolución rusa acabó con la firma.
Desde la Segunda Guerra Mundial han salido a subasta seis de estas obras de arte. En noviembre de 1994 el Winter Egg (creado en 1913, y que se creía perdido hasta 1984) alcanzó los 5.600.000 dólares.
Recientemente (28 de noviembre de 2007) un huevo fabricado por Fabergé para la familia de banqueros Rothschild, alcanzó en subasta el precio récord de 18 millones de dólares.
es.wikipedia.org/wiki/Peter_Carl_Fabergé
www.san-petersburgo.net/museo-faberge/
Peter Carl Fabergé, also known as Karl Gustavovich Fabergé (Russian: Карл Гу́ставович Фаберже́, Karl Gustavovich Faberzhe; 30 May 1846 – 24 September 1920), was a Russian jeweller best known for the famous Fabergé eggs made in the style of genuine Easter eggs, but using precious metals and gemstones rather than more mundane materials. He was the founder of the famous jewelry legacy House of Fabergé.
Peter Carl Faberge was born in Saint Petersburg, Russia, to the Baltic German jeweller Gustav Fabergé and his Danish wife Charlotte Jungstedt. Gustav Fabergé's paternal ancestors were Huguenots, originally from La Bouteille, Picardy, who fled from France after the revocation of the Edict of Nantes, first to Germany near Berlin, then in 1800 to the Pernau (today Pärnu)[2] Baltic province of Livonia, then part of Russia, now Estonia.
Until he was 14 years old he went to the German St Anne School in Saint Petersburg, Russia.[citation needed] In 1860 his father retired from his jewelry business and moved with his family to Germany. He left the House of Fabergé in Saint Petersburg in the hands of his business partner. Carl Fabergé undertook a course at the Dresden Arts and Crafts School. In 1862 Agathon Fabergé, the Fabergés' second son, was born in Dresden, Germany, where he went to school as well.
In 1864, Peter Carl Fabergé embarked upon a Grand Tour of Europe. He received tuition from respected goldsmiths in Germany, France and England, attended a course at Schloss's Commercial College in Paris, and viewed the objects in the galleries of Europe's leading museums.
His travel and study continued until 1872, when at the age of 26 he returned to St. Petersburg and married Augusta Julia Jacobs. 1874 saw the arrival of his first child, Eugene Fabergé and two years later, Agathon Fabergé was born; Alexander Fabergé and Nicholas Fabergé followed in 1877 and 1884 respectively. For the following 10 years, his father's trusted workmaster Hiskias Pendin acted as his mentor and tutor. The company was also involved with cataloguing, repairing, and restoring objects in the Hermitage during the 1870s. In 1881 the business moved to larger street-level premises at 16/18 Bolshaya Morskaya.
Upon the death of Hiskias Pendin in 1882, Carl Fabergé took sole responsibility for running the company. Carl was awarded the title Master Goldsmith, which permitted him to use his own hallmark in addition to that of the firm. In 1885 his brother Agathon Fabergé joined the firm and became Carl Faberge's main assistant in the designing of jewelry.[3]
Carl and Agathon Fabergé Sr. were a sensation at the Pan-Russian Exhibition held in Moscow in 1882. Carl was awarded a gold medal and the St. Stanisias Medal. One of the Fabergé pieces displayed was a replica of a 4th-century BC gold bangle from the Scythian Treasure in the Hermitage. The Tsar, Alexander III, "Emperor and Autocrat of all the Russians", declared that he could not distinguish the Fabergé's work from the original and ordered that objects by the House of Fabergé should be displayed in the Hermitage as examples of superb contemporary Russian craftsmanship. The House of Fabergé with its range of jewels was now within the focus of Russia's Imperial Court.
When Peter Carl took over the House, there was a move from producing jewellery in the then-fashionable French 18th century style to becoming artist-jewellers. Fabergé's production of the very first so-called Fabergé egg, the Hen Egg, given as a gift from the Tsar to his wife Maria Fyodorovna on Orthodox Easter (24 March) of 1885 so delighted her that on 1 May the Emperor assigned Fabergé the title Goldsmith by special appointment to the Imperial Crown of that year. This meant that Fabergé now had full personal access to the important Hermitage Collection, where he was able to study and find inspiration for developing his unique personal style. Influenced by the jewelled bouquets created by the eighteenth century goldsmiths Jean-Jacques Duval and Jérémie Pauzié, Fabergé re-worked their ideas combining them with his accurate observations and his fascination for Japanese art. This resulted in a revival of the lost art of enameling and a focus on the setting of every single gemstone in a piece to its best visual advantage. Indeed, it was not unusual for Agathon to make ten or more wax models so that all possibilities could be exhausted before deciding on a final design. Shortly after Agathon joined the firm, the House introduced objects deluxe: gold bejewelled items embellished with enamel ranging from electric bell pushes to cigarette cases and including objects de fantaisie.
In light of the Empress' response to receiving one of Fabergé's eggs on Easter, the Tsar soon commissioned the company to make an Easter egg as a gift for her every year thereafter. The Tsar placed an order for another egg the following year. Beginning in 1887, the Tsar apparently gave Carl Fabergé complete freedom with regard to egg designs, which then became more and more elaborate. According to Fabergé Family tradition, not even the Tsar knew what form they would take— the only stipulation was that each one should be unique and each should contain a surprise. Upon the death of Alexander III, his son, the next Tsar, Nicholas II, followed this tradition and expanded it by requesting that there be two eggs each year, one for his mother (who was eventually given a total of 30 such eggs) and one for his wife, Alexandra (who received another 20). These Easter gift eggs are today distinguished from the other jeweled eggs Fabergé ended up producing by their designation as "Imperial Easter eggs" or "Tsar Imperial Easter eggs". The tradition continued until the October Revolution when the entire Romanov dynasty was executed and the eggs and many other treasures were confiscated by the interim government. The two final eggs were never delivered nor paid for.
Although today the House of Fabergé is famed for its Imperial Easter eggs, it made many more objects ranging from silver tableware to fine jewelry which were also of exceptional quality and beauty, and until its departure from Russia during the revolution, Fabergé's company became the largest jewelry business in the country. In addition to its Saint Petersburg headquarters, it had branches in Moscow, Odessa, Kiev and London. It produced some 150,000 to 200,000 objects from 1882 until 1917.
In 1900, Fabergé's work represented Russia at the 1900 World's Fair in Paris. As Carl Fabergé was a member of the jury, the House of Fabergé exhibited hors concours (without competing). Nevertheless, the House was awarded a gold medal and the city's jewelers recognized Carl Fabergé as a maître. Additionally, France recognized Carl Fabergé with one of the most prestigious of French awards, appointing him a knight of the Legion of Honour. Two of Carl's sons and his head workmaster were also honored. Commercially, the exposition was a great success and the firm acquired a great many orders and clients.
In 1916, the House of Fabergé became a joint-stock company with a capital of 3-million rubles.
The following year upon the outbreak of the October Revolution, the business was taken over by a 'Committee of the Employees of the Company K Fabergé. In 1918 The House of Fabergé was nationalised by the Bolsheviks. In early October the stock was confiscated. The House of Fabergé was no more.]
After the nationalisation of the business, Carl Fabergé left St. Petersburg on the last diplomatic train for Riga. In mid-November, the Revolution having reached Latvia, he fled to Germany and first settled in Bad Homburg and then in Wiesbaden. Eugène, the Fabergés' eldest, travelled with his mother in darkness by sleigh and on foot through snow-covered woods and reached Finland in December 1918. During June 1920, Eugène reached Wiesbaden and accompanied his father to Switzerland where other members of the family had taken refuge at the Bellevue Hotel in Pully, near Lausanne.
Peter Carl Fabergé never recovered from the shock of the Russian Revolution. He died in Switzerland on September 24, 1920. His family believed he died of a broken heart. His wife, Augusta, died in 1925. The two were reunited in 1929 when Eugène Fabergé took his father's ashes from Lausanne and buried them in his mother's grave at the Cimetière du Grand Jas in Cannes, France.
Fabergé had four sons: Eugène (1874–1960), Agathon (1876–1951), Alexander (1877–1952) and Nicholas (1884–1939). Descendants of Peter Carl Fabergé live in mainland Europe, Scandinavia and South America.
Henry Bainbridge, a manager of the London branch of the House of Fabergé, recorded recollections of his meetings with his employer in both his autobiography and the book he wrote about Fabergé. We are also given an insight into the man from the recollections of François Birbaum, Fabergé's senior master craftsman from 1893 until the House's demise.
From Bainbridge we know that while punctilious with his dress, Fabergé "rarely if ever wore black but favoured well-cut tweeds". He added "There was an air of the country gentleman about him, at times he reminded one of an immaculate gamekeeper with large pockets." He was a very focused individual with no wasted actions or speech. He did not like small talk. On one occasion during dinner Bainbridge, feeling out of the conversation said, "I see Lord Swaythingly is dead". Fabergé asked who he was and upon being told responded cuttingly, "And what can I do with a dead banker?"
When taking orders from customers he was always in a hurry and would soon forget the fine detail. He would then interrogate the staff so as to find any who had been standing near him and may have overheard. His great-granddaughter Tatiana Fabergé notes that he usually had a knotted handkerchief in his breast pocket.
When Carl noticed an unsuccessfully wrought item, he would call for his senior master craftsman and make endless derisory and ironic remarks. On occasions when Birbaum realized Fabergé was the designer, he would show him his sketch. Fabergé would then smile guiltily and say, "Since there is nobody to scold me, I have had to do it myself".
From Birbaum we also know that Carl was famous for his wit and was quite merciless to fops, whom he hated. A certain prince who fell into this category boasted to Fabergé about his latest honour from the Tsar, adding that he had no idea as to why the award was made. The prince expected the jeweler to shower him with congratulations. Instead, Fabergé simply replied, "Indeed, your Highness, I too have no idea what for".
Carl never traveled with luggage—he bought all his requisites at his destination. On one occasion, when he arrived at the Negresco Hotel in Nice the doorman barred him from entering because of the amount of luggage he carried. Thankfully one of the grand dukes who was in residence called out a greeting and Carl Fabergé was promptly ushered apologetically into the establishment.
Bainbridge concludes, "Taking him all in all, Fabergé came as near to a complete understanding of human nature as it is possible for a man to come, with one word only inscribed on his banner, and that word – tolerance. There is no doubt whatsoever that this consideration for the worth of others was the foundation for his success."