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Namespace Prefixes

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rdfs	http://www.w3.org/2000/01/rdf-schema#
n13	https://www.metmuseum.org/art/collection/search/
n6	http://data.silknow.org/vocabulary/
silk	http://data.silknow.org/ontology/
ecrm	http://erlangen-crm.org/current/
rdf	http://www.w3.org/1999/02/22-rdf-syntax-ns#
n11	http://data.silknow.org/image/
owl	http://www.w3.org/2002/07/owl#
n2	http://data.silknow.org/object/
prov	http://www.w3.org/ns/prov#
xsdh	http://www.w3.org/2001/XMLSchema#
n4	http://data.silknow.org/statement/
n9	http://data.silknow.org/activity/

Statements

Subject Item: n4:9d3620ab-ae06-5563-94c8-167cd60fa5e2
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
rdf:object: n6:745
rdf:subject: n2:7fd946e7-d84d-3635-8796-324ef881b8c8
prov:wasGeneratedBy: n9:9d3620ab-ae06-5563-94c8-167cd60fa5e2
silk:L18: 0.7239

Subject Item: n4:0547a397-2c6c-5983-9f6e-3e76b971be74
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
rdf:object: n6:745
rdf:subject: n2:7fd946e7-d84d-3635-8796-324ef881b8c8
prov:wasGeneratedBy: n9:0547a397-2c6c-5983-9f6e-3e76b971be74
silk:L18: 0.6498

Subject Item: n4:61006f6d-ea0d-5a93-8dcd-5367c1b9efb3
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
rdf:object: n6:745
rdf:subject: n2:7fd946e7-d84d-3635-8796-324ef881b8c8
prov:wasGeneratedBy: n9:61006f6d-ea0d-5a93-8dcd-5367c1b9efb3
silk:L18: 0.6468

Subject Item: n4:2eb6f951-3c9b-59e8-892f-76fa88fd796a
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
rdf:object: n6:745
rdf:subject: n2:7fd946e7-d84d-3635-8796-324ef881b8c8
prov:wasGeneratedBy: n9:2eb6f951-3c9b-59e8-892f-76fa88fd796a
silk:L18: 0.5499

Subject Item: n2:7fd946e7-d84d-3635-8796-324ef881b8c8
rdf:type: ecrm:E22_Man-Made_Object
rdfs:label: 1870~ / 1895~
rdfs:comment: 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.
owl:sameAs: n13:207258
dc:identifier: 1982.60.382
ecrm:P3_has_note: 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.
ecrm:P65_shows_visual_item: n6:745
ecrm:P138i_has_representation: n11:8be3644d-1256-311c-9087-85c0d09b2c4f n11:aff3ce2f-cbea-39d7-b832-4dae0729b472 n11:b668d85f-8294-327f-8f9f-c09b62125d29 n11:0b9f6180-34a2-37b5-832b-315f83bdd7d0
ecrm:P102_has_title: 1870~ / 1895~