#Exhibit of the Month

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.

Virtual Tour

Publications

Library „Tyragetia"

Elena Ploșnița

Museographic Concepts of Historical Profile: Retrospect and Prospect

Series “Biblioteca “Tyragetia” XVII, Chisinau, 2008, 248 p. ISBN 978-9975-80-197-3.

The monograph “Museographic Concepts of Historical Profile: Retrospect and Prospect” is a work on an actual and unstudied subject, the synthesis study of museographic concepts on history which dominated in the history of Moldova from the 19th century to the present.

The structure of the work is determined by the specificity of the subject under research. It consists of Preface; arguments; three chapters (“Archaeology and History in Bessarabian Museographic Concepts”, “Creation and Development of Museography of Historical Profile in Moldavian SSR”, “Role of Cultural Policy and Civil Society in Adoption of New Museographic Concepts in Late 20th – Early 21st Centuries”), which are divided into 10 sections; Conclusion; Bibliography; Index of Museographic Concepts; Index of Museums; Index of Proper Names; abstracts in Romanian, English, and Russian; and List of Abbreviations.

The concepts under consideration were identified and systematized on the basis of materials found in the National Archives of the Republic of Moldova, the Archives of the Historical Monuments Department from Bucharest (Romania), the State Archives of the Russian Federation, in the collections and archives of the National Museum of Archaeology and History of Moldova, and the archives of the National Museum of Ethnography and Natural History (Chisinau). The materials, for the most part, have not previously been investigated.

The studies revealed that each historical period of development of the Moldavian society since the late 19th century gave rise to (and was marked by) certain museographic concepts and, at the same time, these concepts have been a reflection of social and intellectual concerns, the interest in history of the past, the attitude of a collective mentality, an of course, cultural policy in general and museum policy in particular, promoted by government bodies.