Replica Vacheron Constantin 50.00 mm Watches Online

Vacheron Constantin Traditionnelle Diamond (82573/000R-9815)

cool watch

---- [Rating: 5 / 5 stars]

Review by Jong Lee, From Finland Espoo, Helsinki

Vacheron Constantin Patrimony Perpetual Calendar (43175/000R-9687)

The Vacheron Constantin Patrimony Perpetual Calendar (43175/000R-9687) is nice looking and has a comfortable weight and size. The Dual Time, albiet hard to read and the alarm. The luminous hands which do charge rapidly, really don't hold light more than one hour. To much space was used for the battery level dial, where it may have been smaller allowing the Day and Date to be a little readable.

---- [Rating: 5 / 5 stars]

Review by Yolanda W, From Brazil Vargem Grande Paulista

Vacheron Constantin Overseas Grey Dial Chronograph Automatic Men's Watch 49150000W-9015

You can't really tell in the pic but the face of the Vacheron Constantin Overseas watch looks like a golf ball. I know it sounds kinda wired but it looks really cool. It is more of a casual watch. I bought it for my husband and he loves to wear it on weekends and when he is relaxing in sports wear.

---- [Rating: 5 / 5 stars]

Review by Jeff Recker, From Canada Langley

OCEANIA - INDONESIA
Facial Mask
Island of Lombok, Sasak people
Hard wood, traces of white pigments
Height: 21.5 cm
Former collection of Mathias Komor
Inv. 3320-A 

Michel Butor
With its air of bewilderment, this mask has both realistic and geometrical features and is dominated by the large eyes. It clearly represents an old man with its sunken cheeks, dark rings under the eyebrows, and especially the wrinkles that furrow its brow and the folds between the nose and mouth. These wrinkles animate the face and help give dramatic expression to the character, which seems to raise its eyebrows and half-open its mouth in amazement. The old man was a regular character in Balinese Wayang Topeng theatre. The masked actors did not speak because they had to hold their masks between their teeth with a leather thong. It was therefore left to the narrators and singers to describe the intrigue and recount the heroes' adventures.
 
ASIA - CHINA
Zangs-'Bag facial Mask
Tibet region, Tantric Buddhism. 16th-17th century
Partially-gilt copper, pigments
Height: 22.2 cm
Inv. 2504-168 

Michel Butor
A mystery, even a profound sacredness, seems to emanate from this half-empty mask. And yet the highly naturalistic nose reminds us that this figure with its frozen expression has a human side. The divine is expressed by the strange mandorla, positioned like a jewel on the forehead of the mask and enclosing a painted eye. A beautifully designed frieze of gold-covered arabesques and scrolls frames the empty spaces. This type of zangs-'bag mask was worn by certain monks from the dGe-lugs-pa yellow hat sect. The masks were used in dances linked to the cult of Kâlacakra (the Wheel of Time).
 
AMERICAS - MEXICO
Pendant Mask
State of Guerrero
Mezcala culture (300 - 100 BC)
Basalt
Height: 12.8 cm
Inv. 505-26 

Michel Butor
Blending the influences of several cultures in a singular style, this pendant mask conveys all the artist's virtuosity. Its powerful and austere profile comprises both abstract and naturalistic features. The upper part of the face and the diagonal of the cheek are treated in a minimalist fashion; by contrast, the aquiline nose and down-turned mouth seem far more realistic. This mask belongs to the Mezcala culture. During the classical period, it was the custom of these people to bury their dead under the mud floors of their dwellings. In accordance with a ritual related to the ancestral worship of the dead, the tombs were full of small hard-stone sculptures of asexual human figures, heads, plaques decorated with faces, masks, and animal effigies.
 
AFRICA - GABON
Ngontang Mask
Western Gabon, Fang people
Soft wood covered with white kaolin, specks of crystallisation
Height: 31 cm
Inv. 1019-76 

Michel Butor
The sobriety of this white mask, with its melancholic air and o-shaped mouth, shows the sculptor's remarkable sensitivity. It is covered with white kaolin, a colour that for the Fang, as for many other African tribes, referred to the spirit of the dead. The expressive power of the face is produced by the vertical line suggesting the nose as well as the scarifications from the chin to the forehead and from which two welldefined, curved eyebrows branch out. This mask was used in a ritual dance linked to the Byeri's cult of ancestor worship. Although its use did not have any particularly religious significance, the initiated dancer had to respect certain ritual gestures and taboos. These dances were intended to protect the village from witchcraft and evil influences.

Further information about the "Metiers d'arts" collection: click here