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. IX [XXIV], nr. 2, Istorie. Muzeologie Chișinău, 2015
Abstract
This article is the result of research of the museum's collection of postcards on the theme of the First World War, which was carried out in connection with the centenary since the war began.
At the present stage of the evolution of historical science a special role belongs to the documentary sources that had previously been "less required", including illustrated postcards. At the beginning of the 20th century postcards know peak of their evolution. Being very popular, mobile and accessible, during the war they fulfilled several functions. In addition to performing the functions of postal items, they become an accessible form of propaganda and a source of supplementing military budget.
The collection of picture postcards relating to the First World War comprises three categories of documents. The first one includes black-and-white postcards with representations of weapons and ammunition, scenes of the battlefield, soldiers' lives in their leisure hours, the work of the military medical service, life behind the front.
The second category includes illustrated postcards calling on the public to support the army. These are color postcards of high quality, with a lot of printed text on the back side, containing, in addition to the publisher's data, the call to the public to support the army in the fight against the enemy.
The third category contains postcards with caricatures, which occupied a special place during the First World War, as they were used as an effective weapon against the enemy, the propaganda support both on the battlefield and in the rear.
Chronologically, these postcards were printed and circulated between 1914 and 1916. There are cards with blackand-white and color images that were printed in Russia by printing houses and private publishers, Red Cross soci eties, as well as the Moscow satirical magazine "Novoe Krivoe Zerkalo" ("New Distorting Mirror").
The article contributes to the study of the history of World War II in terms of the illustrative material, as well as provides information about the authors and publishers of postcards.
List of illustrations: Fig. 1. Postcard Prayer before the battle. Released by the St. Nicholas Community of the Russian Red Cross Society (NMHM, FB-21336-10).
Fig. 2. Postcard (reverse side). Every 2-3 sold cards provide an opportunity to make a respirator to protect against poison gases. Released by the St. Nicholas Community of the Russian Red Cross Society (NMHM, FB21336-10). Fig. 3. Postcard. 116. Cannon on a position. Released by G.V. Gruzintsev, the town of Luga, 1915; Phototype Scherer, Nabholz & Co., Moscow (NMHM, FB-21336-8). Fig. 4. Postcard. 54. Battery on a position. Released by G.V. Gruzintsev, the town of Luga, 1915; Phototype Scherer, Nabholz & Co., Moscow (NMHM, FB-21336-7). Fig. 5. Postcard. 127. Hair cutting near the dugout. Released by G.V. Gruzintsev, the town of Luga, 1915; Phototype Scherer, Nabholz & Co., Moscow (NMHM, FB-21336-9). Fig. 6. Postcard. 24. In the war. Sending wounded men from the regimental dressing station to the hospital. Released by O. Adamovich, Minsk; Phototype Scherer, Nabholz & Co. (NMHM, FB-20579). Fig. 7. Postcard. In Galicia. In the safe shelter during the shelling. Released by O. Adamovich, priest of the 64 Kazan Infantry Regiment; Phototype Scherer, Nabholz & Co. (NMHM, FB-20578). Fig. 8. Postcard. Bandaging of the wounded during the battle. Russia, 1915 (NMHM, FB-20577). Fig. 9. Postcard. Shells for the army the glory and prosperity of Russia. Released by the Skobelev Committee of the Assistance to the Wounded Soldiers. Petrograd, 1915 (NMHM, FB-7788-30). Fig. 10. Postcard. When the motherland needed guns, the factories are working day and night. Released by the Skobelev Committee of the Assistance to the Wounded Soldiers. Petrograd, 1915 (NMHM, FB-7788-31). Fig. 11. Postcard. French long-range gun. Released by the Skobelev Committee of the Assistance to the Wounded Soldiers. Petrograd, 1915 (NMHM, FB-7788-32). Fig. 12. Postcard. Romanian troops in the First World War. Balloon, 1916 (NMHM, FB-7788-33). Fig. 13. Postcard. On the strengthening of funds of the Northern Railway Committee to assist soldiers. Russia, 1914 (NMHM, FB-7788-5). Fig. 14. Postcard (reverse side). Take part in the accumulation of funds, buy war bonds. Russia, 1916 (NMHM, FB-7788-23). Fig. 15. Postcard. Help the Army in its great work and sign up for the military 5½ loan. Released by the Office for Small Loans. Petrograd, 1916 (NMHM, FB-7788-19). Fig. 16. Postcard. Anyone who signs up for military 5½ loan will help our heroes to destroy the enemies. Released by the Office for Small Loans. Petrograd, 1916 (NMHM, FB-7788-22). Fig. 17. Postcard. Sign up for the military 5½ loan. Released by the Office for Small Loans. Petrograd, 1916 (NMHM, FB-7788-21). Fig. 18. Postcard. Military 5½ loan. The more money, the more weapons and ammunition, the closer to victory. Released by the Office for Small Loans. Petrograd (NMHM, FB-7788-23). Fig. 19. Postcard. Military loan. Forward for the Motherland! Released by the Office for Small Loans. Petrograd, 1916 (NMHM, FB-7788-20). Fig. 20. The reverse side of the postcards released by the Office for Small Loans. Petrograd, 1916 (NMHM, FB7788-20). Fig. 21. The reverse side of the postcards released by the Skobelev Committee of the Assistance to the Wounded Soldiers. Petrograd, 1916 (NMHM, FB-7788-30). Fig. 22. Postcard. Caricature (color). Russian hen, Slavic chickens and German thieves. Released by "Novoe Krivoe Zerkalo". Moscow, 1914 (NMHM, FB-5935-11). Fig. 23. Postcard. Caricature (color). The prudent son. By L. Zolotarev. Petrograd, 1914 (NMHM, FB-59353). Fig. 24. Postcard. Caricature. The spirit of hatred and evil. By A. Tzenter. Petrograd, 1914 (NMHM, FB-59356). Fig. 25. Postcard. Caricature (color). Homeward. Russia, 1914 . (NMHM, FB-5935 12). Fig. 26. Postcard. Caricature (color). Finally, I am in Russia. Released by P. Khmelevsky. Russia, 1914 (NMHM, FB-5935-2). Fig. 27. Postcard. Caricature. "The Italian fig sign". Released by "Novoe Krivoe Zerkalo". Moscow, 1916 (NMHM, FB-5935-4). Fig. 28. Postcard. Caricature (color). On the way to Paris by 11 August. Russia, 1916 (NMHM, FB 59358). Fig. 29. Postcard. Caricature. What a pity that the world consists of only two hemispheres. Released by "Novoe Krivoe Zerkalo". Moscow, 1916 (NMHM, FB-5935-7). Fig. 30. Postcard. Caricature (color). Wolf in the kennel. Released by "Nov'", Kiev, 1914. (NMHM, FB-5935-10). Fig. 31. Postcard. Caricature. After the defeat of museums... "nah Fatherland". By A. Tzenter. Petrograd, 1914 (NMHM, FB-5935-8).
Fig. 32. Postcard. Caricature (color). Delusion of grandeur. Wilhelm II. Released by A.F. Postnov's Factory. Moscow, 1914 (NMHM, FB-59355). Fig. 33. Postcard. Caricature. Wilhelm the Bloody (see from a distance). Russia, 1914 (NMHM, FB-5935-1). Fig. 34. The reverse side of the postcard sent from Sevastopol (October 2, 1914) to the village of Răduleni (Guberniya of Bessarabia). Addressee: P.F. Sutulova (NMHM, FB-5935-5).
Ana Grițco
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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
