These are fragments of a plaster cast of an Oak alter piece, now in Schleswig Cathedral, by Hans Brüggermann, c 1514-1521, also in the plaster court at the Victoria and Albert Museum. While the oak carving is clearly very accomplished, the reason for posting these pictures is the attention to detail in setting the casting lines, where the various parts of the moulds meet. The lines mark out a topology of separation to avoid undercut and cast strange contours on the figures.
One of London’s hidden pleasures. The study in Freud’s house in Maresfield Gardens, NW3, is kept close to the condition when Freud died (open afternoons, Wednesday to Sunday)
The plaster cast of Trajan’s Column in the V and A (in two parts to fit within the space). They were checking for roof leaks during a downpour and kindly let me have a look inside the upper section.
A paint throwing view of Instrument Seven. The drawing pieces are hidden behind the paint catapult in this view
Where I used to live the naked cyclists’ annual ride used to cause quite a stir. On Sunday a naked peloton rode along the Brighton seafront (followed by an ice cream van called Mr Whippy) and looked completely at home and certainly not enough to distract the hoola hoopers. One of the pleasures of living in a seaside town is the disturbance of urban sobriety by those in beach attire venturing into the town and the cyclists appeared as an extension of such behaviour.