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"Displaying forgeD objects with genuine objects gives way to an investigation of their extraorDinary craftsmanship." —tarissa tiberti When you have the largest Fabergé collection outside of Russia—a stunning display of history, wealth, and deca- dence—you might want to create a place to show it off. Such was the thinking of the Virginia Museum of Fine Arts when it launched the exhibit "Fabergé Revealed," designed to tour the country while the museum expands and enhances its permanent exhibition space. Featuring a portion of that collection—238 opulent objects handcrafted by the House of Fabergé prior to the fall of Russia's imperial family—the show recently opened at the Bellagio Gallery of Fine Art. Among the jewelry, silverware, parasol handles, and religious objects are four Fabergé eggs, commissioned by the patriarchs of the Romanov dynasty as Easter gifts. What's particularly interesting about this Fabergé exhibit, however, is its inclusion of so-called "Fauxbergé"—elaborate Fabergé knockoffs that once fooled collectors. "Displaying these forged objects in the same exhibi- tion as the genuine Fabergé objects gives way to an investigation of the extraor- dinary craftsmanship that was put into creating these intricate objects," says Tarissa Tiberti, director of the Bellagio Gallery. "Guests will notice these differences when comparing them." This isn't the first time a gallery has exhibited works by master counterfeiters, whose skills have thrown off some of the world's most astute connoisseurs. Entire shows have been devoted to art-world fakes. In April of last year, Reno's Nevada Museum of Art built an exhibit around the shaky provenance of Study by Candlelight, a painting once attributed to Vincent van Gogh, purchased by Hollywood producer William Goetz in 1948 for $50,000, and still a compelling mystery. And with Fabergé, a skilled counterfeiter has a rich opportunity—a testament to the artistry of Karl Fabergé, whom Czar Alexander III commis- sioned in 18 85 to make an Easter egg as a gift for his wife. The gift became an annual tradition that was continued by his successor, Nicholas II, who commis- sioned Easter eggs to give to his mother and his wife. The custom persisted until 1917, when the autocrat and his family were executed, ending their rule as well as the House of Fabergé. "The history involved is pretty incredible," Tiberti says, citing the dramatic reign of the Romanovs and the interest spurred by recent headlines coming out of Russia. "Fabergé Revealed" consists of works acquired by the Virginia Museum of Fine Arts from the late Lillian Thomas Pratt and items on loan from other collectors. The Easter eggs, each one an intricate and functional object with a surprise inside, include the Imperial Pelican Easter Egg, the Imperial Tsesarevich Easter Egg, and the Imperial Peter the Great Easter Egg. "These pieces are exceptional," Tiberti says. "You can't make them today. That's the beauty of it. They're one of a kind." Through May 25, 2015. 702-693-7871; bellagio.com/bgfa V Fabergé Faux Real In Las Vegas, we don't mInd a LIttLe artIfIce—partIcuLarLy when It comes wIth a good story and the reaL beautIes that InspIred It. by kristen peterson from top: The Imperial Peter the Great Easter Egg, circa 1903; Imperial Tsesarevich Easter Egg, 1912; Miniature Easter Egg Pendant, 1899–1908. 60 vegasmagazine.com culture Art Full