Easter Egg Trophy
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Reward the hunters! Fun Easter Egg awards and medals for children and maybe some adults. A childhood memory to live forever. Easter trophies and medals to liven up the holiday season.
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Sorry, we are not online at the moment. Leave a message and we will get back to you.
Please give us some info to serve you better.
Reward the hunters! Fun Easter Egg awards and medals for children and maybe some adults. A childhood memory to live forever. Easter trophies and medals to liven up the holiday season.
Customise and add free engraving to your awards.
Contact us:
E: sales@trophymonster.com
T: 01727 614777
Trophy Monster 2022 | Privacy Policy | Site Map
Company reg: 11110229 VAT number: 284 5802 79
4 Frederick Place,
Curo Park,
Frogmore,
St Albans,
Hertfordshire,
AL2 2FD
The NBA's Redesigned Larry O'Brien Championship Trophy Is Hiding an Easter Egg
Artist and designer Victor Solomon, who worked with Tiffany & Co. to redesign the league’s Larry O’Brien trophy (and almost every other trophy the league hands out), talks about manifesting the opportunity and redesigning an icon.
Chris Marion Sr, courtesy Tiffany & Co.
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Last July, shortly after his Milwaukee Bucks were crowned NBA champions, Khris Middleton stood amongst his teammates, Bucks front office employees, family, and friends, and held the coveted Larry O’Brien NBA Championship Trophy. And he kept holding it, by himself, for 12 whole minutes. People would come up to ogle it, read the inscriptions, or rub the gilded sphere as delicately as a newborn baby’s head. But Middleton clutched it tightly. Little did he know he’d be one of the last NBA players to triumphantly hold that particular trophy on a court ever again.
Because hundreds of miles away, Victor Solomon was in his L.A. workshop meeting with Tiffany & Co., meticulously reviewing a redesign of the Larry O’Brien trophy—along with five other NBA postseason trophies—that he’d been working on for years. Solomon, the artist and designer behind Literally Balling , a one-man studio producing opulent basketball-related totems, had been called in to restyle the 45-year-old trophy being coddled by Khris Middleton. Alongside the Finals championship trophy, Solomon—working with the artisans at Tiffany & Co.’s hollowware shop in Rhode Island—have updated the Bill Russell Finals MVP trophy, the Eastern and Western Conference Finals championship trophies, and the Eastern and Western Conference Finals MVP trophies: the Larry Bird Trophy and the Earvin “Magic” Johnson Trophy.
As Solomon explained in a conversation, his journey to reviving the NBA’s highest profile trophies involves being a hoops-obsessed Boston kid, getting frustrated with the art-world, and hiding an Easter Egg in the championship trophy that some lucky team will get to see for the first time.
GQ: You and I both grew up in the late ’80s and ’90s, watching some of the greats. Growing up in Boston, when was the first time you realized that ball is life?
Solomon: Without getting too dramatic with the violins, growing up as a brown kid in Boston…that's kind of not the place for that. I always felt like I didn't really have a connection because I was around a lot of Irish kids and Italian kids, Jewish kids. So I felt very disconnected from a community standpoint.
And the thing in Boston at that time was hockey. There was this little mom and pop store that I walked by every day on the way to school, and they had this mannequin in the window with the full goalie fit. It looked incredible. I was dying for that, but my family didn't have any money. I knew it was just out of question. But basketball is this great equalizer because you can just walk up and start playing, and it didn't matter what your background was, what your color was, whatever your status was—when everyone was on the court, it was very pure and clean because everyone had the same objective in mind. That was very quickly a way for me to build community in a space where I wasn't feeling very connected with people. So ball was literally life for me, in getting to know people and expanding my community.
Let’s fast-forward. You’re working in San Francisco. You have this side project that evolves into Literally Balling starting in 2013. But how did you get from Literally Balling to working with Tiffany & Co. and the NBA?
I was working with filmmakers, doing all these different sorts of things, but I was feeling very hemmed in by the fact that getting an idea realized required mobilizing so many people and resources. And I was living in San Francisco, which has a rich history of stained glass traditions. I wandered into a stained glass shop one day wanting to pick up a new craft. These older guys that have been doing stained glass for life, they took me under their wing. I was doing it for fun and made a stained glass backboard as a celebration of a sport that always meant something to me.
On my social, I got a lot of momentum and I was showing at Art Basel six months later. And I realized very quickly how fast all that stuff moves. And that collecting a piece of art was kind of like a trophy for a lot of people—it was a symbol of an achievement that they had arrived at.
"In our first meeting, I kept asking, ‘Who’s in charge of the trophies?’—and [the NBA] didn't really know."
I had this bad experience with a gallery and took off to Palm Springs to reflect on what I wanted to pursue. Around this time, maybe like 2014 or 2015, I felt like [basketball] was taking a big turn culturally. We started seeing the tunnel more. Started seeing the guys getting much more sophisticated culturally and thinking more about aesthetics. The trophy bit unlocked in my mind that the symbol of a trophy represents this kind of pinnacle of this lifelong journey. Players were dedicating their lives in pursuit of these objects, and I felt like they deserved to be as innovative and thoughtful as the guys that were getting there.
So, the NBA reaches out to me around 2018—they had seen what I was doing. In our first meeting, I kept asking, “Who’s in charge of the trophies?”—and they didn't really know. I just kept beating the drum, and Christopher Arena, who is head of on-court brand partnerships at the NBA, kept beating this same drum on his side. We ended up meeting in the middle in 2019 to work on this crazy project.
The one thing that the NBA did know for sure, obviously, was that Tiffany & Co. has been creating the Larry O’Brien and the conference trophies. In 1977, that’s when Tiffany had redesigned the Larry O’Brien. And that was the major tentpole for us when we embarked on the project, using the 75th Anniversary as the peg.
The Larry O'Brien trophy plinth being polished at Tiffany & Co.'s hollowware studio in Rhode Island.
A Tiffany artisan annealing the trophy's sterling silver tower—pieces are made from sterling silver, slowly shaped, and then electro-plated in 24-karat gold.
You don’t want to mess up an icon—and at the same time, we’re seeing this incredible evolution of the NBA player, so you have to match that vibe. What kinds of artwork or design elements did you look to in order to take the Larry O’Brien trophy, and the other postseason trophies, to that next level?
What Christopher Arena and I did was basically zoomed out and looked at everything that had existed before for the honors. Larry O'Brien was at the center of it, so we built an aesthetic universe around that trophy. Because over the years—and this is part of why the NBA had no idea who was handling which trophy—a PR team would introduce one trophy, the communications team would introduce this trophy, on-court team would introduce this other trophy. So besides the main trophies Tiffany & Co. had been making, the other ones were all over the place. Some were bronze, and some were like plaques, and some of them were wood.
We had a real interest in creating a cohesive universe with these honors so that if you looked at them all together, they looked like they were at least in the same family. We were like: let's throw a bunch of stuff out and just start building this world around the [Larry O’Brien trophy] anchor. That was one of the most exciting parts of this project. Taking the entire history of this league and using that to inform how we embarked on this new era. Has anyone shown you the trophies yet?
The Larry O'Brien and Bill Russell Finals MVP trophies in the center, with Eastern and Western conference finals trophies, along with their respective MVP trophies, on the left and right.
Yeah, there are some subtleties working that are really, really cool.
I’m biased, but since the NBA is the most relevant sport culturally, I think the [Larry O’Brien trophy] is one of the most recognizable and iconic. Snoop has the custom one on his chain, Drake’s doing a 30-foot one on stage. It’s just so embedded in the culture around the sport that we couldn't throw it out the window. But we wanted to evolve it forward, so we did a couple of subtle but, I think, really important things for the storytelling.
First and foremost, we re-oriented the silhouette to be tilted forward as a sort of symbolic nod to the NBA’s reputation for innovation and looking forward. On the ball’s seams, where the cross used to be on the top, we rotated that forward to be a little bit more recognizable. And the net engraving on the column is a little more realistic and more of like a literal net pattern. Both of those are contrast-plated so they pop out a little bit more on a picture.
A Tiffany craftsman polishing the net engraving on the Bill Russell Finals MVP trophy.
And then the biggest update was the base. It had been this kind of rectangular base before, and we turned it into this double-stacked cylinder. Engraved on the top surface are all of the previous champions, and then the second stack is blank, and will start to be populated with the champion going forward. We designed that with enough face to hold the next 25 champions, which will take us up to the 100th anniversary. We were thinking that far ahead with these designs.
Oh, and Christopher Arena’s genius idea was to add a base lip on bottom that has a Finals logo engraved into it, so when the player lifts it up, there's a little Easter egg underneath. So that was all for the Larry O’Brien—a couple of keynotes. But I feel like evolved it forward.
The Eastern and Western Conference MVP trophies, I feel like, must be important to you, too. Growing up in the Boston area, now you’re able to work on this new piece named after the Legend himself.
We used the Bill Russell Finals MVP award as the jumping off point for the silhouette, taking a version of that and scaling it down a bit. The Western Conference has two crossing halos and the Eastern Conference has three pillars, so each conference MVP has their own corresponding hardware with the ball sitting atop the trophy. To be able to name those after Larry and Magic is so poetic. One of the rules we made was to take everything that existed before us and use that to inform the next era—to be able to pay tribute to legends along the way. Cousy, Larry O’Brien, Russell. To bring Larry and Magic into that fold, into that echelon, to be trophy-worthy in the namesake, is really powerful.
The Bill Russell Finals MVP trophy with its own little easter egg for whoever earns the honors.
Has there been a time when you just sat down and really let it all sink in and thought, like “wow, I’m really doing this”?
It was like raising my own version of the trophy. It was such a dream project of mine that I have been in pursuit of for so long. Really giving the NBA credit, no one has ever really taken on something like this. In the end, I think we've issued over 150 new trophies this season, all within this new universe that we built. And they all have a relationship with each other philosophically, conceptually, aesthetically. That's such a huge achievement for all of us, and something that I'm super proud of. But there were a couple of moments, to your point, where you go to work trying to get something for so long—and then you get it, and you're like, “Oh shit, now we need to actually make this stuff.” Joy and terror mixed together.
But the specialness of seeing them in players’ hands, like Steph getting the All-Star MVP, gives me a double-take. Or Ray Allen giving it to KAT for the three-point shootout… I don’t know if you remember this moment, looking at him like, “Hold up, let me get that for a second.” It was already crazy to collaborate with the NBA on a trophy and to be able to work with Tiffany & Co. in the process and their rich heritage, bringing this all to life.
I mean, this is crazy. That stained glass technique those old guys were teaching me is the same technique the founder of Tiffany & Co. developed in the ‘80s. It’s just poetry in motion.
“Serendipitous” is the word. Really, that moment you were referring to? This is the moment right here. This is so great.
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