MUNICH, GERMANY.- This sensational exhibition compares and contrasts the imperial jewellers of the Russian court. It encompasses the period between 1900 and 1917, when Fabergé’s art had reached its climax and the fame of the House of Cartier was rapidly spreading. The splendour of the Russian Czar’s court, reflected in the 800 or so exhibits, provided the basis for artistic rivalry in which the protagonists were spurred on to ever more superlative achievements. Fortunately for us, Dr Geza von Habsburg, a leading specialist in Russian art and jewellery, has agreed once again to take over the curatorship. Seventeen years ago he and Dr Johann Georg Prinz von Hohenzollern jointly organized the first Fabergé presentation at the Kunsthalle.  Unlike that legendary show, which concentrated on one artist alone, this exhibition is based on a completely new concept. It examines the art of adversaries of equal status, including well-known Paris jewellers such as Boucheron, Fouquet, Lalique, Vever and Chaumet, besides Fabergé and Cartier. The exhibition not only shows the magnificence of their works, but also presents the individuals whose favour they were courting, namely Czar Nicholas II, his wife Alexandra and their family. The exhibition is being organized in collaboration with the Fondation Cartier in Geneva, and will be on show in Munich from 28th November 2003 to 12th April 2004. It will be accompanied by a catalogue published by the Hirmer Verlag, Munich.

This pioneering exhibition contrasts the art of the two great European jewellers as they vied for dominance in St. Petersburg and Paris during the brief period following the turn of the century and World War I. By this time Fabergé had attained the peak of its fame, while Cartier was beginning to expand its business,opening new offices in London, St. Petersburg and New York. Some 800 jewels and objects by the two firms out of a total of over 1000 exhibits are on loan from 60 owners in 15 different countries. They include members of the Danish Royal family,numerous German dynasties, the Art of Cartier Museum, Geneva,Boucheron Joailliers, Paris, and numerous Russian, German and American museums. Loans include 2 Imperial Easter eggs from the Kremlin Armoury Museum, over 100 jewels,paintings, drawings and costumes from the Hermitage Museum, St.Petersburg, numerous objects,statues and furniture from the Pavlovsk Palace Museum, paintings from the Tretiakov Gallery and the State Russian Museum and works of art from the Russian Historical, Fersman and National Museums, none of which have previously been shown in Germany.

In 1904 Cartier began to compete with Fabergé, acquiring and commissioning numerous hardstone carvings and enamelled objects from Fabergé’s suppliers and from the Russian master himself, offering these as its own production in Paris. During these years, both Fabergé and Cartier sold thousands of sometimes virtually identical objects of art, with those of Cartier generally believed to be by Fabergé today. In later years, Fabergé in turn began imitating the style of his Parisian competitor. When Cartier in 1908 set up business in the Russian capital, the local jewellers resisted, attempting to have the French merchandise confiscated and the firm’s representative expelled from the country - to no avail. Cartier counted on the support of infuential members of the Russian imperial house who favoured the Parisian master. Fabergé’s and Cartier’s art is shown in the context of other great Parisian jewellers such as Boucheron, Chaumet, Fouquet, Lalique and Vever as well as Russian competitors Bolin, Hahn, Köchli and Tillander. Portraits of the Imperial family,photographs and costumes form a lavish backdrop illustrating the magnificence of the Russian Imperial court.

The exhibition is curated by Dr. Géza von Habsburg, a leading specialist in this field and is organized by Dr. Johann Georg Prinz von Hohenzollern, Director of the Kunsthalle.