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.
Leclerc: “YEEESS YEEESS! COME ON ! Oh my god, I was so scared”
第一个非杆位胜利，我的扣宝，太不容易了！本应就是你！猫头哥退赛我太开心了！
虚拟安全车后居然和油门踏板有问题的车和解、适应了！
在红牛和潘仔的地盘，三次超越潘仔，居然为法拉利带来了冠军（头哥和歪头都没做到过）！这个领奖台真的惊人的高啊！
也想摸摸崽的头和pp～也摸摸33～
3316真的很好磕，到小黑屋里两个人又聊开了…喷香槟也好萌～
我决定了，下周日我还是要出去做志愿者，给我崽积福！
第一个非杆位胜利，我的扣宝，太不容易了！本应就是你！猫头哥退赛我太开心了！
虚拟安全车后居然和油门踏板有问题的车和解、适应了！
在红牛和潘仔的地盘，三次超越潘仔，居然为法拉利带来了冠军（头哥和歪头都没做到过）！这个领奖台真的惊人的高啊！
也想摸摸崽的头和pp～也摸摸33～
3316真的很好磕，到小黑屋里两个人又聊开了…喷香槟也好萌～
我决定了，下周日我还是要出去做志愿者，给我崽积福！
#新书上架# #艺术#
Notes on 41| Max Eulitz
一开始是一个词，或者更确切地说，是一个谣言让马克斯·尤利茨(Max Eulitz)在2019年登上了飞往基辅的航班。他正在关注一个雄心勃勃的新技术俱乐部：一个没有名字，但充满希望的俱乐部。在基辅歌德学院驻留期间，尤利茨目睹了一个巨大的苏联时代啤酒厂转变为这个无名俱乐部——一个旨在与西方世界的技术教堂相媲美的亚文化中心。这个地标性的地点，以及它演变成这样一个空间的历史意义，成为了他研究的重点。本书是一本文集，说明了这家俱乐部创建时的情况，概述了基辅后迈丹景观中的结构性挑战和历史背景，使该地点充满了活力。文中提出的问题结合考虑了乌克兰社会政治环境的复杂性。
马克斯·尤利茨（Max Eulitz，1987— ），生于莱比锡，是一位艺术家和作家，在柏林生活和工作。
152pp，11×17.5cm
购买链接 https://t.cn/A6aX7M3l
买书支持香蕉鱼[微风]
Notes on 41| Max Eulitz
一开始是一个词，或者更确切地说，是一个谣言让马克斯·尤利茨(Max Eulitz)在2019年登上了飞往基辅的航班。他正在关注一个雄心勃勃的新技术俱乐部：一个没有名字，但充满希望的俱乐部。在基辅歌德学院驻留期间，尤利茨目睹了一个巨大的苏联时代啤酒厂转变为这个无名俱乐部——一个旨在与西方世界的技术教堂相媲美的亚文化中心。这个地标性的地点，以及它演变成这样一个空间的历史意义，成为了他研究的重点。本书是一本文集，说明了这家俱乐部创建时的情况，概述了基辅后迈丹景观中的结构性挑战和历史背景，使该地点充满了活力。文中提出的问题结合考虑了乌克兰社会政治环境的复杂性。
马克斯·尤利茨（Max Eulitz，1987— ），生于莱比锡，是一位艺术家和作家，在柏林生活和工作。
152pp，11×17.5cm
购买链接 https://t.cn/A6aX7M3l
买书支持香蕉鱼[微风]
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