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拍品专文
This solar monstrance was created to display the consecrated Host is an impressive example of the art of Reinhold Vasters. It is probably made of composite elements as indicated by two impressive drawings now at the Victoria & Albert Museum in London. These drawings of the present monstrance are illustrated in the unpublished dissertation of Dr. M. Krautwurst, who has exhaustively researched the designs of Reinhold Vasters. The first (inv. no. 2590-1919, see Krautwurst, abb. 1) is a tonal representation, presumably illustrating the monstrance with different shades applied to the older, pre-existing elements he incorporated versus his own additions. The other design drawing by Vasters represents the monstrance in color (inv. no. 2596-1919).
Reinhold Vasters (1827-1909) was born near Aachen and began making his mark as a goldsmith there in 1853. His early work seems to have concentrated on church silver which was marked very straight- forwardly R. VASTERS in a rectangular punch (M. Rosenberg, Der Goldschmiede Merkzeichen, Frankfurt, 1922, vol III p.12). Two recorded Renaissance style jewels from this period bearing an RV conjoined mark struck on a small applied plaque on the reverse of the jewel are also known. There are however indications that as early as 1850s and, certainly during the following decade, he was producing deliberate fakes in the Gothic and Renaissance styles. In 1865 he was instructed by the Aachen cathedral authorities to alter an early 16th century pax in the treasury to a clasp or morse. Apparently a dozen or so copies were made at that time one of which found its way into the hands of the collector and dealer Frédéric Spitzer (1815-1890), (S. Beissel, Gefälschte Kunstwerke, Freiburg-im-Bresgau, 1909, p. 86). While moving in the most elegant Parisian social circles, Spitzer conducted business in Aachen from about 1850 until at least 1868 and is known to have commissioned other jewelers and goldsmiths ‘improve’ older pieces into creations in the Renaissance style. After this time, Vasters seems to have become increasingly wealthy and by 1880 was publicly exhibiting works of art from his own collection.
Reinhold Vasters (1827-1909) was born near Aachen and began making his mark as a goldsmith there in 1853. His early work seems to have concentrated on church silver which was marked very straight- forwardly R. VASTERS in a rectangular punch (M. Rosenberg, Der Goldschmiede Merkzeichen, Frankfurt, 1922, vol III p.12). Two recorded Renaissance style jewels from this period bearing an RV conjoined mark struck on a small applied plaque on the reverse of the jewel are also known. There are however indications that as early as 1850s and, certainly during the following decade, he was producing deliberate fakes in the Gothic and Renaissance styles. In 1865 he was instructed by the Aachen cathedral authorities to alter an early 16th century pax in the treasury to a clasp or morse. Apparently a dozen or so copies were made at that time one of which found its way into the hands of the collector and dealer Frédéric Spitzer (1815-1890), (S. Beissel, Gefälschte Kunstwerke, Freiburg-im-Bresgau, 1909, p. 86). While moving in the most elegant Parisian social circles, Spitzer conducted business in Aachen from about 1850 until at least 1868 and is known to have commissioned other jewelers and goldsmiths ‘improve’ older pieces into creations in the Renaissance style. After this time, Vasters seems to have become increasingly wealthy and by 1880 was publicly exhibiting works of art from his own collection.