珠宝｜Pendant with a Triton Riding a Unicorn-like Sea Creature，ca. 1870–95，Reinhold Vasters German。
With the exception of the links of the chain, an additional molding separating the two bands of decoration on the base, and the unicorn’s horn, this jewel is identical to one in a design in the Victoria and Albert Museum, London (inv. No. E 2818-1919), by Reinhold Vasters of Aachen. The design was included among the nineteenth-century Renaissance-style jewels and jewelry designs in that museum’s exhibition Princely Magnificence: Court Jewels of the Renaissance, 1500–1630. It is illustrated in the exhibition catalogue,[1] where it was noted that the base of a jewel in the same exhibition lent by Lord Astor of Hever was made from the design for the lower part of the base of the jewel in the drawing.[2] The same jewel was illustrated in the catalogue of the collection of Frederick Spitzer, where it was identified as an Italian work of the sixteenth century.[3]
The variation in quality and variety of media found in objects known to have been made from Vasters’s designs indicate that a number of craftsmen were employed in carrying them out. Although many of the designs are accompanied by directions for their execution, and nearly all the directions are written in German, many of the objects made from them were sold by Frederick Spitzer in Paris. Some of them, at least, may have been executed there. It seems possible on the evidence provided by this jewel to question whether all designs were in fact executed under Vasters’s supervision. The creature in the drawing for this jewel is without a horn. Vasters probably intended it to be a hippocampus, but the identity of the finished figure is confused by the addition of the horn to its forehead, and one wonders whether the resulting sea-going unicorn might have been the whim of the goldsmith who executed the design.
[Clare Vincent, The Jack and Belle Linsky Collection in the Metropolitan Museum of Art, New York, 1984, pp. 194–95, no. 114.]
Footnotes:
[1] Princely Magnificence: Court Jewels of the Renaissance, 1500–1630 (exhib. cat.), London, Victoria and Albert Museum, 1980, p. 140, fig. HG4, pp. 139–40, no. HG4.
[2] Ibid., p. 138, fig. H20.
[3] F. Spitzer, La Collection Spitzer: Antiquité, moyen-âge, renaissance, Paris, III (1891), p. 152, no. 56.
With the exception of the links of the chain, an additional molding separating the two bands of decoration on the base, and the unicorn’s horn, this jewel is identical to one in a design in the Victoria and Albert Museum, London (inv. No. E 2818-1919), by Reinhold Vasters of Aachen. The design was included among the nineteenth-century Renaissance-style jewels and jewelry designs in that museum’s exhibition Princely Magnificence: Court Jewels of the Renaissance, 1500–1630. It is illustrated in the exhibition catalogue,[1] where it was noted that the base of a jewel in the same exhibition lent by Lord Astor of Hever was made from the design for the lower part of the base of the jewel in the drawing.[2] The same jewel was illustrated in the catalogue of the collection of Frederick Spitzer, where it was identified as an Italian work of the sixteenth century.[3]
The variation in quality and variety of media found in objects known to have been made from Vasters’s designs indicate that a number of craftsmen were employed in carrying them out. Although many of the designs are accompanied by directions for their execution, and nearly all the directions are written in German, many of the objects made from them were sold by Frederick Spitzer in Paris. Some of them, at least, may have been executed there. It seems possible on the evidence provided by this jewel to question whether all designs were in fact executed under Vasters’s supervision. The creature in the drawing for this jewel is without a horn. Vasters probably intended it to be a hippocampus, but the identity of the finished figure is confused by the addition of the horn to its forehead, and one wonders whether the resulting sea-going unicorn might have been the whim of the goldsmith who executed the design.
[Clare Vincent, The Jack and Belle Linsky Collection in the Metropolitan Museum of Art, New York, 1984, pp. 194–95, no. 114.]
Footnotes:
[1] Princely Magnificence: Court Jewels of the Renaissance, 1500–1630 (exhib. cat.), London, Victoria and Albert Museum, 1980, p. 140, fig. HG4, pp. 139–40, no. HG4.
[2] Ibid., p. 138, fig. H20.
[3] F. Spitzer, La Collection Spitzer: Antiquité, moyen-âge, renaissance, Paris, III (1891), p. 152, no. 56.
The museum was founded in 1967 by Mattie Caruth Byrd. It was formerly known as the Biblical Arts Center. In 2005, a fire destroyed the museum and 2,500 works of art. The museum rebuilt and reopened in 2010 in a modern building with eleven galleries and 30,000 square feet of exhibition and event space.
今天，火箭官方宣布，球队正式签下戴申-尼克斯和泰勒-贝。
根据之前的报道，火箭和他们签下的合同中都带有Exhibit?10附件。
如果一份NBA合同里包括Exhibit?10附件，那么如果这名球员被裁，这允许一支NBA球队给这名球员最多5万美元的奖金，让他签约他们的NBA发展联盟附属球队。如果一份NBA里合同有Exhibit?10附件，那么球队可以在常规赛首日之前将这名球员的合同转换为双向合同。
尼克斯曾是五星高中生，但之后选择去发展联盟打球，上赛季是杰伦-格林的队友，并参加今年的选秀大会，最终落选。
贝是独行侠去年在次轮36顺位选中的新秀，上赛季在独行侠签下了一份双向合同，赛季场均可以得到1分1.1篮板。
根据之前的报道，火箭和他们签下的合同中都带有Exhibit?10附件。
如果一份NBA合同里包括Exhibit?10附件，那么如果这名球员被裁，这允许一支NBA球队给这名球员最多5万美元的奖金，让他签约他们的NBA发展联盟附属球队。如果一份NBA里合同有Exhibit?10附件，那么球队可以在常规赛首日之前将这名球员的合同转换为双向合同。
尼克斯曾是五星高中生，但之后选择去发展联盟打球，上赛季是杰伦-格林的队友，并参加今年的选秀大会，最终落选。
贝是独行侠去年在次轮36顺位选中的新秀，上赛季在独行侠签下了一份双向合同，赛季场均可以得到1分1.1篮板。
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