In the dazzling world of precious stones and noble metals, certain jewelers stand out, mastering the art of harmonizing understated elegance with absolute refinement, genius with design, and sophistication with eternal, unforgettable splendor. The name Fabergé, emblematic of originality and synonymous with the creations of a legendary house, has left an indelible mark on the history of jewelry and decorative arts. Renowned for uniting jewelry, artistic design, and utility into objets de luxe and objets de fantaisie, Fabergé's creations have always captivated with their exquisite craftsmanship. Fashioned from gold, silver, enamel, and precious stones, the pieces produced in Fabergé's workshops testify to exceptional virtuosity, marked by meticulous attention to detail and perfect material harmony. Even works inspired by earlier stylistic vocabularies bear the unmistakable mark of originality.
The National Museum of History of Moldova treasures a spectacular ladle, crafted in Fabergé's workshops in the late 19th century. The Fabergé ladle is a curious blend of the "Russian style" and the "modern style." Made of solid silver, it features a circular, gold-plated bowl. Its raised, stylized handle (hook-shaped) is adorned with vegetal motifs, triple rings, and silver pearls. The rim is embellished with a wide band composed of rectangular medallions, decorated with spiral loops and stylized scales arranged alternately. The bowl is supported by four hemispherical feet. At the center, engraved inscriptions read: Eugenie von Platonow/St. Petersburg and ТОРГОВЫЙ ДОМЪ „АЛЕКСАНДРЪ"/1863/15/10/1913. Research suggests that this ladle was commissioned by Alexander Trauberg, a first-guild merchant and owner of the "АЛЕКСАНДРЪ" Trading House located at Nevsky Boulevard 11, St. Petersburg. It was likely created to mark the 50th anniversary of his business in 1913. The hallmark stamped on the base-Fabergé's K. ФАБЕРЖЕ logo surmounted by the Russian Empire's coat of arms, alongside the female profile in a kokoshnik within an oval frame, accompanied by the Greek letter Δ (delta) and the silver purity standard "88"-confirms that the piece was produced by Fabergé's Moscow branch. The hypnotic charm of Fabergé's creations defined the aesthetic ideals of an era, embodying exuberance and refinement, crafted by a jeweler to kings and a king among jewelers.
Tyragetia, serie nouă, vol. III [XVIII], nr. 1, Arheologie. Istorie Antică
In the present article the author debates the question on professional ethics and deontology in the field of archaeology. His works starts with some general appreciation of the terms of ethics and deontology and than continues with historic presentation of the development of the movement among archaeologists on development of the Code of Ethics.
The Codes of Ethics are considered as legal instruments, because most of them settles relations between archaeologists; between archaeologists and state bodies; between archaeologists and donors; between archaeologist and the native people or settled near to the archaeological sites. At the same time the Code of Ethics contains the list of principles and professional norms. Some experts consider that in this list shall be mentioned the aspects on political partisanat too.
One of the actual and common problems of the archaeologists is combating the black archaeology and illicit trade of antiquities. The names of archaeologists and institutions have not to be involved in such illegal phenomena.
The EEA Code of Practice and other international experience should be taken into account in the preparation of the national Code of Ethics according to the local realities and need. At the end of the paper the author is inviting the archaeological community from Moldova to establich a working group and prepare the draft of the Code which could be later discussed and approved.
Sergiu Musteață
Marcin Woloszyn (Ed.), Byzantine coins in central Europe between 5th and 10th century. Proceedings from the conference organized by Polish Academy of Arts and Sciences and Institute of Archaeology University of Reszow under the patronage of Union Academique International. (Programme No. 57 Moravia Magna). Krakow, 23-26 IV 2007. Moravia Magna. Seria Polona III, Krakow, 2009, 684 pp., ISBN 978-83-7676-008-7
Tyragetia, serie nouă, vol. VI [XXI], nr. 1, Arheologie. Istorie Antică
Sergiu Musteață
Манаджемент археологического насследия и кража древностей в Республике Молдова
Tyragetia, serie nouă, vol. IV [XIX], nr. 1, Arheologie. Istorie Antică
Sergiu Musteață
Stefan Ihrig, Wer sind die Moldawier? Rumänismus versus Moldowanismus in Historiographie und Schulbüchern der Republik Moldova, 1991-2006, Stuttgart: ibidem-Verlag, 2008, ISBN-10: 3-89821-466-4
Tyragetia, serie nouă, vol. III [XVIII], nr. 2, Istorie. Muzeologie
Sergiu Musteață
A new law - a new perspective for the archaeological heritage preservation in the Republic of Moldova
Tyragetia, serie nouă, vol. V [XX], nr. 1, Arheologie. Istorie Antică
Sergiu Musteață
Preservation of the historic heritage in USA
Tyragetia, serie nouă, vol. II [XVII], nr. 1, Arheologie. Istorie Antică
In the dazzling world of precious stones and noble metals, certain jewelers stand out, mastering the art of harmonizing understated elegance with absolute refinement, genius with design, and sophistication with eternal, unforgettable splendor...
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
