A find between dust and history
Sometimes beauty is not in the searching, but in the finding. During my recent journey through Poland—visiting small ateliers and family-run workshops where glass is still mouth-blown and hand-painted—I came across a hidden batch of dead stock. No large quantities, no uniform series, but exactly what makes it compelling: a small, almost forgotten collection of semi-vintage Fabergé-style eggs.
What makes this find so special is its scarcity. Of each model, of each color variation, only a few pieces remain. These are not mass-produced items, but remnants of a time when designs were created more intuitively, less driven by trends. You sense they were once part of a larger collection, now resurfacing as fragments with a new story to tell.
These kinds of finds are rare. And when you come across them, you know: this is not inventory—this is a moment in time.
The legacy of Peter Carl Fabergé
To truly understand these eggs, we need to return to the original. The name Fabergé refers to the legendary Russian jeweller Peter Carl Fabergé, who became world-renowned in the late 19th century for his Imperial eggs, created for the Romanov family. Each piece was a masterpiece of gold, enamel, and precious stones.
What made Fabergé exceptional was not only its luxury, but the idea of surprise and detail. Every egg concealed something—a miniature, a mechanism, a story. They exist somewhere between art, craftsmanship, and emotion.
Over time, the Fabergé aesthetic has been translated into other materials and forms. Glass, for instance. Less precious perhaps, but no less poetic when crafted with the same care.
Fabergé eggs in glass: between Christmas and Easter
And this is where something interesting happens. These glass Fabergé eggs exist between two worlds.
On one hand, they reference Easter—the egg as a symbol of new life, tradition, and spring. On the other, they are unmistakably connected to Christmas: the glass, the shimmer, the act of hanging, the idea of collecting.
For collectors and enthusiasts, that tension is exactly the appeal. These are not typical Easter decorations, nor are they conventional Christmas ornaments. They are both—and therefore something entirely their own.
A little Christmas with Easter.
For collectors, this small batch carries an additional value: uniqueness. Because only a few of each design exist, a natural exclusivity emerges. No endless repetition, but objects you choose, keep, and perhaps even pass on.
A tradition of giving—and asking
In Czech Republic and Poland, the egg is not just an object, but part of a ritual. At Easter, it was traditionally the role of men to visit homes and ask girls and women for decorated eggs—pisanki.
Closely tied to this is the pomlázka: a braided whip made of fresh willow branches, often adorned with colorful ribbons. Traditionally, it was used to lightly tap the girls—a symbolic gesture meant to bring health, vitality, and renewal for the spring.
Today, this custom is evolving and, in its original form, no longer entirely appropriate. What remains is its visual language and underlying meaning. In old illustrations, you still see the slender spring twigs with ribbons—almost decorative objects in their own right—quiet remnants of a once widespread ritual.
And perhaps that is exactly what these glass Fabergé eggs do as well: they carry an echo of tradition. Not literally, but in form, in symbolism, in the idea of giving and preserving.