Our capabilities are limitless. This bold statement is backed up by years of experience, a rich portfolio of unique work, and a highly advanced production facility equipped with the latest technology.
You could say that it was inevitable that we would create a company with a mission to preserve and revive restoration methods and to forge a team of professionals with unique skills.
We have chosen to focus on two main areas: working with natural stone and artistic non-ferrous metalworking. By stubbornly adhering to our own professional principles, we always achieve our desired objectives.
The main ingredient of our success is the people who make up our team of like-minded associates. The atmosphere of trust and respect at our workplace has attracted those who have made restoration and creating artistic masterpieces their life.
When we first went into business, our company devoted much of its efforts to the revival of old marble-working techniques. Then we began to introduce new technologies. Now we harmoniously combine both time-honoured and cutting-edge stonemasonry techniques in our work. As a result, our carving is flawless, and we are proud of what we do. Our stone-carving school is famous around the world.
Years ago, we simply laid foundations for the construction of fireplaces. Today, we have a school for the architectural design of products made of marble and metal, where our architects are familiar with all the intricacies of this complex process.
We used to add brass accents to marble fireplaces. Now, in addition to such decorative brass details, we manufacture many other products from non-ferrous metals. Our company also houses a school for artistic non-ferrous metalworking, including work in bronze and brass.
We never rest on our laurels. Every year sees the successful completion of new projects.
Twenty-five years is not a short time for a company to be in business. The master craftsmen who were there when the company was founded are still here today. Today they share their experience, professional skills, quality criteria, and aesthetic standards with a new generation. That is why we call it a school.
As before, everything is based on our inner need to make the world a more beautiful place.
This is one of the most important and successful areas of the company’s work.
At its heart lies experience in restoring items made of bronze and brass, as well as acquiring new approaches and technologies to metalworking, including stainless steel.
The company develops and prepares various items – fireplace accessories, bronze ornaments, chandeliers, banisters, candlesticks, radiator and ventilation grills, and unique items made of non-ferrous metals, or occasionally of stainless steel (including a Globus Fireplace for the Gosudar Restaurant in St Petersburg, a Victorian-style bronze climbing frame in Moscow, and interior details with oak and willow motifs in the Moscow Region).
The studio is manned by a small team of professionals working in a studio environment; they are able to confidently approach a wide range of tasks, some of which may be very unusual. Their metalworking techniques are unique. Their brass etching technique is breathtaking, but the pride of place is reserved for their fine hand-embossed bronze. You can see all the stages of the creative process by visiting our studio.
Roman mosaic - is one of the various stoneworks we do.
The Roman technique of mosaic inlaying is based on the creation of ornamental pattern or pictorial composition with the split pieces of marble.
Antique mosaic was buried under the layers of ashes in Pompeii and only recently has been returned into decor again. Historically the mosaic tradition of Saint Petersburg developed within the bounds of Lomonosov smalt and industrial machinery of Stalin's Empire style.
Mosaic technique, as an artistic instrument for implementation of craftsman ideas, permits to build any plot.
It is always an author's work presented in a single exemplar. Just like the canvases of the great masters, the mosaic pictures can be copied, but it will be only replica.
The unique Bardo National Museum located near present Carthage contains a major collection of Antique mosaics. There are no similar large-scale collections in Europe. The works of Greek masters found among the wreckages of the sunk ships near the coast of Mahdia make the gem of the collection.
Such an impressive collection as this of the Bardo Museum is a direct evidence of the refined lifestyle the wealthy had in the times of the Roman and Byzantine Empires. The marble retains through the centuries and passes on to us not only the story, but the colour and the sentiments. That is why the feelings one gets looking at the mosaic chefs d'oeuvre are incomparable. For instance, local craftsmen works are notable for their naive and primitive style unaffected by any external influence. Owing to this fact they undoubtedly have great documentary value. The craftsman depicted the things he saw: fishery, hunting for the wild animals, new house building, and surely entertainments of the wealthy Romans: scenes of gladiator fights and pompous festivities.
The mosaic art is bound up with the architectural context. Some other mosaics can be met, those where Greco-Hellenistic heritage and Christianity are tightly interwoven. One can also come across to mythological subjects and biblical scenes. Mosaic pictures representing symbolic animals and birds are bordered by splendid geometric and floral patterns.
The Bardo Museum also keeps the mosaics from the Antonine thermal baths situated not far from Carthage. Their magnificence and splendour of the interior, as well as the consummate skill of mosaicists, are amazing.
The Basilica of Saint Mark in Venice is the world-known example of Roman mosaic technique application in the flowering of Renaissance.
New mosaic techniques.
The application of Antique mosaic technique in the modern interior decoration is not always appropriate. We have worked out such mosaic variations that will perfectly fit into any kind of interior: Art Deco, Art Nouveau, modern style.
The Florentine mosaic technique
The Florentine mosaic technique, which was flourishing in the age of Renaissance, consists in filigree fitting of the stone elements to each other and thus creating a single picture. At first sight it seems to be a painting, and it takes some time to realize that this picture is made of stone.
First of all it is necessary to choose a drawing, then to cut out stone elements and to assort them carefully by colour. Each component, even very small one, must be numbered and pasted into it's proper place.
When creating a mosaic pattern we use a full-range palette of stones, including semi-precious ones, such as lazurite, malachite, onyx, jasper. Even a small fragment of decor made in the Florentine mosaic technique, is able to transform the interior. It can be a floor in the hall or a panel in the bathroom, fireplace decoration, coffee table or grand dinner table, table top for the antique cupboard, windowsills in a country house or stair risers. The presence of Florentine mosaic in our showroom adds some more elegance and originality to our office interior.
The Cathedral of Siena is a world-famous illustration of Florentine mosaic technique application in the golden age of Renaissance.
Russian mosaic is a unique technique of combining small malachite tiles, whose size does not exceed five square centimetres, into fanciful tracery imitating the natural structure of a rare stone. It is a genuine mastery to put hundreds of small-scale elements together so that they create an illusion of monolithic stone texture.
There is no doubt that the best example of work in the Russian mosaic technique is the Malachite Room of the Hermitage Museum. It was created at behest of Catherine the Great according to the sketches made by Alexander Briullov.
Nowadays many artisans attempt to work in the Russian mosaic technique making bijouterie, souvenirs and sometimes more sizable items or even interior decoration elements. However, the original technique was lost.
Present technology of Russian mosaic is mostly based on the application of polyester mastic. But very soon it will make the porous stone turn yellow and loose it's charm. Furthermore, if the fragments are ill matched, then the gaps between them are filled up with the mastic containing malachite powder mixed into. In this case, negligence and ignorance of technology will become apparent even more quickly.
Traditionally masters of the Russian mosaic technique used to apply a wax-colophony base. In addition to it's quality to have an effect of seamless junction, it offers one more advantage. Even if one of the malachite decor elements is damaged, the base can be heated up to take the mosaic fragment to pieces without breaking the stone tracery passages. Such repair as this will pass unnoticed, in contrast to the "patches" on the cracked monolith of polyester base. In our work we apply only traditional authentic technology.
Russian mosaic technique is a time-consuming work demanding a great skill of the craftsman. But malachite decor is expensive not only because of that. Malachite itself is a costly stone. On average, the stone size rarely exceeds the weight of 400 grams, certain ones may reach 2 kilograms; but most stones are small, the size of a goose egg. Each stone saws up into thin (4 - 5 millimetres) plates that make up afterwards a priceless table top or fireplace decoration striking by its colour depth, facture and unique design created by the nature itself.
Today there is an artificial malachite on the market, it is a bit cheaper than the natural one. But artificial stone differs from the natural malachite just as a synthetic crystal differs from the diamond. Such malachite may be fit for the souvenirs but not for the Palace interior decoration.
The Russian mosaic technique permits to work with lazurite as well. This stone is also rather rare and expensive, but it is mined in larger quantities than malachite.
The project is signed off, all the nuances of the future interior are agreed upon, and the work begins. Our business places a high priority on establishing mutual understanding at every phase of the job: the cutting, trimming and working of the stone; the dry cutting of elements ready for installation; direct installation; and protection of the surfaces from damage at the end of all the construction work. At every stage, each craftsman is well aware of the fact that the end result depends heavily on his work, and with good reason: just as there must be no wrong notes in the performance of a symphony, our work is the result of perfectly executed jobs at various stages, in which each employee knows his part.