Fabergé’s craftsmen often combined hardstones to produce the effect desired – in this case to distinguish between the litter of sleeping piglets by using chalcedony and agate fixed to a gold mount underneath. The technique of combining stones was described by one of Fabergé’s senior designers François Birbaum (who joined the firm in 1895) as ‘mosaic sculpture’. The densely carved style and minute attention to detail are reminiscent of netsuke carving, a technique that fascinated Carl Fabergé, who owned a large collection of Japanese netsuke. Many of Fabergé’s animal sculptures were produced in the workshop of the firm’s third and final head workmaster Henrik Wigström, who succeeded to the role in 1903. There were twenty stone carvers working in one of the two workshops specialising in stone carving. This indicates the increased popularity of Fabergé’s hardstone objects, especially animals. This particular sculpture was produced in Michael Perchin’s workshop before 1903.

Mark of Michael Perchin; gold mark of 56 zolotniks (1896-1908)

Text adapted from Fabergé in the Royal Collection