In placing such an order, the Tsar would be giving rise to what would become a more than 30-year-long pattern among Russian royals. Instead, he wanted Fabergé to create a jewel-encrusted egg that he could present to his wife, Danish princess-turned-Russian Empress Marie Fedorovna, as a surprise Easter gift. The 37-year old Emperor of Russia was not in the market for a piece of jewelry, for which the House of Fabergé was best known he similarly was not interested in the tableware or handcrafted furniture that Mr. Petersburg-based business to produce a custom creation. Fabergé’s work at the Exhibition, the Tsar (“through the intermediary of his uncle, Grand Duke Vladimir,” per Fabergé) commissioned him and his St. Fabergé’s specialty in selecting and arranging precious and semiprecious materials, such as gold, silver, jade, and lapis lazuli, among others – that would attract the eye of an important new patron, who was present at the All-Russia Industrial and Art Exhibition that spring: Tsar Alexander III. It was precisely that jewelry – and in particular, Mr. However, in 1882, he was merely a 36-year old at the helm of a family company in the business of making highly-crafted jewelry. Fabergé would ultimately come to be known as “one of the greatest goldsmiths, jewelers, and designers in Western decorative arts” and the jeweler to the Russian imperial court. Among the many exhibitors that were present for the traveling, biannual event was Peter Carl Fabergé, the proprietor of the House of Fabergé, the jewelry and tableware company he had acquired from his father just 10 years prior. Over the course of 131 days, the exhibition would welcome over 1 million people, all looking to take in the sweeping array of goods on display in pavilions across the Khodynsky field, 30-hectare space in the north-west of Moscow – from decorative artworks to silverware and metal works. In late May 1882, the All-Russia Industrial and Art Exhibition officially opened in Moscow.
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