Peter Carl Fabergé
Chouette
circa 1900
(tiger-eye, obsidian and diamond)
Its eyes immediately capture those of its onlooker: they flash with wide-eyed attentiveness, each inlaid snugly into soft striated beds of obsidian. Its pose suggests that the owl has only just spotted us, its many-headed observer, as it seems to have quickly swivelled its head only moments ago to face this new interest. Taking notice of its posture, however, reveals that the owl is not, in fact, as weary or afraid of us as it may appear. Plump and rather hefty (or just extra ‘fluffy’), it solidly squats on the full extent of its bottom without placing the slightest strain onto its feet. This pose does not imply that the owl threatens to push off into flight at any ominous sign or sudden movement but that, on the contrary, it would prefer to remain in its comfortable huddle of feathers without the bothersome hassle of having to move a single claw in the foreseeable future. It may ruffle its plumage every now and again or twitter frustratingly at the lack of entertainment it expects from us, but it nevertheless remains a bird whose physical language deems its character curious and quizzical rather than merely pudgy and politely bored. This is yet another Fabergé piece that has the uncanny ability to draw from its audience an instinctual compulsion to protect and care for a stone creature, as if it were indeed a true live one, or to at least pause and return this particular owl's gaze with an equal gesture of friendly acceptance - no matter size, shape, species or stumpy stance.
