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Costume Institute's fall exhibition to focus on fashion icon Jacqueline de Ribes

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Jacqueline de Ribes in her own design, 1986. Courtesy of The Metropolitan Museum of Art, Photograph by Francesco Scavullo, The Francesco Scavullo Foundation and The Estate of Francesco Scavullo.

NEW YORK, NY.- The Costume Institute’s Fall 2015 exhibition, Jacqueline de Ribes: The Art of Style, will focus on the internationally renowned style icon Countess Jacqueline de Ribes, whose originality and elegance established her as one of the most celebrated fashion personas of the 20th century. The exhibition will be on view in The Metropolitan Museum of Art’s Anna Wintour Costume Center from November 19, 2015 through February 21, 2016. 

A close study of de Ribes’s life of creative expression yields illuminating insights into her strategies of style,” said Harold Koda, Curator in Charge of The Costume Institute, who is organizing the exhibition. “Her approach to dress as a statement of individuality can be seen as a kind of performance art. When she established her own fashion house, her friend Yves Saint Laurent gave his blessing to the venture as a welcome projection of her elegance.” 

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Jacqueline de Ribes in her own design, 1983. Courtesy of The Metropolitan Museum of Art, Photograph by Victor Skrebneski, Skrebneski Photograph © 1983.

Exhibition Overview 
The thematic exhibition will feature approximately 60 ensembles of haute couture and ready-to-wear primarily from de Ribes’s personal archive, dating from 1959 to the present. Also included will be her creations for fancy dress balls, which she often made by cutting up and cannibalizing her haute couture gowns to create unexpected, thematic, and conceptually nuanced expressions of her aesthetic. These, along with photographs and ephemera, will tell the story of how her interest in fashion developed over decades, from childhood “dress-up” to the epitome of international style. 

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Jacqueline de Ribes working in her Studio by David Lees for LIFE, 1985.

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Jacqueline de Ribes working in her Studio by David Lees for LIFE, 1985

A muse to haute couture designers, they placed at her disposal their drapers, cutters, and fitters in acknowledgment of their esteem for her taste and originality. Ultimately, she used this talent and experience to create her own successful design business, which she directed from 1982 to 1995. 

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Jacqueline de Ribes wearing one of her own designs, phorographed by Victor Skrebneski, 1983, Skrebneski Photograph © 1983.

While the exhibition will focus on her taste and style methodology, extensive documentation from her personal archives will illustrate the range and depth of her professional life, including her roles as theatrical impresario, television producer, interior designer, architect, and director and organizer of international charity events. 

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Jacqueline de Ribes wearing one of her own designs, by Victor Skrebneski, 1983. Skrebneski Photograph © 1983.

Designers in the exhibition will include Giorgio Armani, Pierre Balmain, Bill Blass, Marc Bohan for House of Dior, Roberto Cavalli, Jacqueline de Ribes, John Galliano, Madame Grès (Alix Barton), Valentino Garavani, Jean-Paul Gaultier, Norma Kamali, Guy Laroche, Ralph Lauren, Ralph Rucci, Yves Saint Laurent, Fernando Sanchez for Révillon Frères, and Emanuel Ungaro. 

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Jacqueline de Ribes wearing a Jean Dessès gown, 1956.

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Jacqueline de Ribes in a Dior dress & headdress by Raymundo de Larrain for Alexis de Redé's Bal de Têtes, 1957.

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Jacqueline de Ribes wearing a Yves Saint Laurent dress, photographed by Mark Shaw, 1959.

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Jacqueline de Ribes wearing a Dior day-suit and veiled hat, photographed by Mark Shaw at her home in Paris, 1959.

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Jacqueline de Ribes in Christian Dior at home in Paris, photographed by Roloff Beny, 1959

Countess Jacqueline de Ribes (born 1929 in Paris to aristocratic parents) is seen by many as the ultimate personification of Parisian elegance. She was, with the American and Italian beauties Gloria Vanderbilt and Marella Agnelli, among the small flock of “Swans” photographed by Richard Avedon and written about by Truman Capote in 1959. 

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Jacqueline and Edouard de Ribes, Marella and Gianni Agnelli. Photo by Benno Graziani, 1958.

Married at age 19 to Édouard, Vicomte de Ribes (he became the Count de Ribes upon the death of his father in 1981), the traditions of her in-laws precluded her from becoming a career woman. An independent spirit, she channeled her creativity into a series of ventures linked by fashion, theater, and style. In 1956, de Ribes was nominated for Eleanor Lambert’s Best-Dressed List. At the time, she had only a handful of couture dresses, as most of her wardrobe was comprised of her own designs, which she made herself or with a dressmaker. Four more nominations followed, and resulted in her induction into the International Best-Dressed List Hall of Fame in 1962. 

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Jacqueline and Edouard de Ribes. Photo by Robert Bourguet, 1991.

Photographed by the world’s leading talents including Slim Aarons, Richard Avedon, David Bailey, Cecil Beaton, Robert Doisneau, Horst, Jean Baptiste Mondino, Irving Penn, Francesco Scavullo, Victor Skrebneski, and Juergen Teller, her image came to define an effortless elegance and a sophisticated glamour. 

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Jacqueline de Ribes by Horst P. Horst, 1953.

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Jacqueline de Ribes by Richard Avedon, 1955.

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Jacqueline de Ribes by Richard Avedon, 1955

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Jacqueline de Ribes by Richard Avedon, 1955

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Carlos de Beistegui and Jacqueline de Ribes, 1955.

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Jacqueline de Ribes and Charles de Besteigui by Robert Doisneau, 1957.

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Jacqueline de Ribes and Charles de Beistegui by André Ostier, 1957.

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Raymundo de Larrain, Jacqueline de Ribes and Charles de Beistegui by André Ostier, 1957.

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Jacqueline de Ribes, 1959.

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Jacqueline de Ribes and Raymundo de Larrain by Richard Avedon, 1961.

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Jacqueline de Ribes and Raymundo de Larrain by Richard Avedon, 1961.

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Jacqueline de Ribes, Baron Guy de Rothschild, Sarah Bernhardt, Audrey Hepburn, and Georges Pompidou, 1962

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 Cecil Beaton and Jacqueline de Ribes by Jack Nisberg, 1965.

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Jacqueline de Ribes at her home in Paris by Jean-Claude Deutsch, 1966

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Jacqueline de Ribes by Pierluigi Praturlon for Vogue, 1969.

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Jacqueline de Ribes by Pierluigi Praturlon for Vogue, 1969.

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Jacqueline de Ribes at the Oriental Ball, 1969.

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Comtesse Jacqueline de Ribes Bal Proust given by Guy and Marie-Helene de Rothschild, December 1971. Photographed by Cecil Beaton.

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Jacqueline de Ribes by Ronny Jaques, 1972.

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Jacqueline de Ribes and Gloria Guiness by Reginald Gray during a gala at Château de Versailles, 1973

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Jacqueline de Ribes by Andy Warhol, 1980.

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Jacqueline de Ribes by Victor Skrebneski, 1983.

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Jacqueline de Ribes by David Lees for LIFE, 1985.

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Jacqueline de Ribes and former model Bettina by Richard Kalvar, 1985.

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Jacqueline de Ribes by Martine Franck, 1989

In 1999, Jean Paul Gaultier dedicated his haute couture collection to her with the title “Divine Jacqueline,” and in 2010, she received the Légion d’Honneur from French President Nicolas Sarkozy for her philanthropic and cultural contributions to France. 


The exhibition will be featured on the Museum’s website, as well as on Facebook, Instagram, and Twitter using #JacquelinedeRibes.


Bas Meeuws, serie 'Tulpenboek', 2012

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Bas Meeuws, serie 'Tulpenboek', 2012. C-Print on Dibond with cast epoxy resin, 30cm x 20cm (12" x 7 7/8"). Edition of 30. 1 photo € 295,-. 3 or more € 275,- each, available at broftvanderhorst

Les Rencontres Couture à Paris de la Collection Didier Ludot réalisent 966,259 EUR chez Sotheby's Paris

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Balenciaga Haute Couture, automne-hiver 1965-1966. Robe du soir en plumetis de brivet entièrement appliqué de plumes d'autruche par Albert. Estimation 6,000 — 8,000 €. Lot vendu  56,250 €Photo: Sotheby's.

Totalisant 966 259 €, soit le triple de son estimation initiale, la première vente de couture chez Sotheby’s à Paris a remporté un vibrant succès. Célébrant les plus grands couturiers de la mode française, les 171 pièces de la collection Didier Ludot, datant de 1924 à 2006, ont toutes trouvé acquéreur. Une prouesse qui valut à la commissaire-priseur de recevoir les gants blancs.

L’enchère la plus haute de la vente a récompensé une robe du soir de Balenciaga entièrement appliquée de plumes roses. Pièce emblématique de la garde-robe de Madame Francine Weisweiller, elle a été acquise 56 250 €, contre une estimation de 6 000 à 8 000 €.

Autre belle enchère, une robe du soir en gazar vert pomme signée Pierre Cardin a été emportée à 41 250 € (estimation : 2 000-3 000 €).

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Pierre Cardin Haute Couture, 1962. Robe du soir en gazar vert pomme. Estimation 2,000 — 3,000 €. Lot. Vendu 41,250 €. Photo: Sotheby's.

Pierre Cardin Haute Couture, 1962. A green gazar evening gown with slash-effect rear bodice and trained skirt

ExpositionFemmes en fleurs, Exposition au Printemps Haussmann, Paris, du 4 octobre au 25 octobre 1997.

Note: Modèle comparable photographié par Avedon.

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Ina Balke in Pierre Cardin Haute Couture, 1962. Photo by Helmut Newton

Également très convoités durant cette session, le bustier en cuir moulé vert bronze de Thierry Mugler, ainsi que le tailleur de drap de laine pied-de-poule, Christian Dior par Gianfranco Ferre, se sont respectivement vendus 35 000 €.

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Thierry Mugler, 1979. Bustier en cuir moulé vert bronze porté sur une jupe mouchoir de mousselineEstimation 3,000 — 5,000 €. Lot. Vendu 35,000 €. Photo: Sotheby's.

Thierry Mugler, 1979. A gladiator-style moulded green leather breast-plate with matching chiffon skirt

Note: Ce modèle était présenté par le célèbre mannequin Jerry Hall lors du défilé.
Un modèle similaire en cuivre est conservé au Musée des Arts Décoratifs à Paris.

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Thierry Mugler, 1979. Jerry Hall présentant le modèle lors du défilé© DR

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L’intérieur de la boutique Thierry Mugler© DR

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 Christian Dior Haute Couture par Gianfranco Ferre, automne-hiver 1989-1990. Tailleur de drap de laine pied-de-poule, garni d'un noeud d'organzaEstimation 1,500 — 2,500 €. Lot. Vendu 35,000 €. Photo: Sotheby's.

Christian Dior Haute Couture by Gianfranco Ferre, A/W 1989-90. A finely checked wool suit with large bow to the neck.

Note: Cette première collection de Gianfranco Ferre pour la maison Dior, créée en hommage au New Look, recevra le Dé d’Or.

Modèle comparable reproduit dans : Pierre-Yves Guillen, Dé d'Or, Haute couture française, Sélection du Reader’s digest, Berlin, 1990, p.228.

Cinq préemptions du Musée de la Mode et du Textile des Arts Décoratifs ont illustré hier l’intérêt universel des institutions et des particuliers pour une sélection de pièces élégantes et authentiques.

Pierre Balmain Haute Couture, 1953. Robe de cocktail en velours noir, travail de fleurs réalisé par la Maison Lesage

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Pierre Balmain Haute Couture, 1953. Robe de cocktail en velours noir, travail de fleurs en bouillonné de mousseline, tiges et feuilles en minuscules rubans réalisé par la Maison LesageEstimation 3,000 — 5,000 €. Lot. Vendu 25,000 €. Photo: Sotheby's.

ProvenanceGarde-robe du mannequin vedette de la maison Balmain, Paulette.

Pierre Balmain Haute Couture, 1953 A black velvet evening gown embroidered with trailing ribbon work flowers by Maison Lesage, from the wardrobe of one of the leading 50s models-Paulette

 

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Paulette, mannequin vedette de la Maison Balmain, portant cette robe© DR

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Pierre Balmain, Paris© DR

Sotheby's. Rencontres Couture à Paris de la Collection Didier Ludot, 8 juillet 2015

 

Jeanne Lanvin Castillo Haute Couture par Antonio del Castillo, 1956. Robe de cocktail en tulle lavande

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Jeanne Lanvin Castillo Haute Couture par Antonio del Castillo, 1956. Robe de cocktail en tulle lavandeEstimation 2,500 — 3,500 €. Lot. Vendu 22,500 €. Photo: Sotheby's.

Jeanne Lanvin Couture by Antonio del Castillo, 1956. A layered lilac tulle dance dress with tiered, ruffled bustle

NoteModèle comparable reproduit dans: 
Richard Avedon, Made in France, San Francisco, Fraenkel Gallery Editions, 2002. 
Carol Squiers et Vince Aletti, Avedon Fashion 1944-2000, Harry N. Abrams, New York, 2009, p. 116.

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Jeanne Lanvin Castillo Haute Couture par Antonio del Castillo, 1956. Modèle identique porté par Suzy Parker, 1956© Richard Avedon

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Jeanne Lanvin Castillo Haute Couture par Antonio del Castillo, 1956. Dessin représentant le même modèle© DR

Sotheby's. Rencontres Couture à Paris de la Collection Didier Ludot, 8 juillet 2015

Christian Dior Haute Couture par Gianfranco Ferré, automne-hiver 1989-1990. Robe de grand soir

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Christian Dior Haute Couture par Gianfranco Ferré, automne-hiver 1989-1990. Robe de grand soir en organza brume, bustier brodé de pierres du Rhin par la Maison Lesage, traîne pouvant se porter en étole en dentelle de Valenciennes brodée de perles retenue par un bouquet de la Maison TrousselierEstimation 3,500 — 4,500 €. Lot. Vendu 22,500 €. Photo: Sotheby's.

 

Christian Dior Haute Couture, automne-hiver 1957-1958. Ligne "Fuseau", Modèle "Louveciennes", Robe de cocktail

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Christian Dior Haute Couture, automne-hiver 1957-1958. Ligne "Fuseau", Modèle "Louveciennes", Robe de cocktail en ottoman de soie bleu lavande impriméEstimation 4,000 — 6,000 €. Lot. Vendu 21,250 €. Photo: Sotheby's.

ExpositionL'esprit Dior aux jardins du palais Royal à Paris en 2005.

NoteDernière collection dessinée par Christian Dior avant son décès à Monte Catini.
Le modèle du défiléétait présenté par le célèbre mannequin Victoire.

Modèle comparable reproduit dans: Victoire Doutreleau, Et Dior créa Victoire, Robert Laffont, Paris, 1999.

Christian Dior Haute Couture , F/W 1957-58 A blue and black chine satin cocktail dress 'Louveciennes'.

 

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Christian Dior Haute Couture, automne-hiver 1957-1958. Défilé Dior, Paris, 1957© DR

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Christian Dior Haute Couture, automne-hiver 1957-1958. Modèle similaire© DR

Sotheby's. Rencontres Couture à Paris de la Collection Didier Ludot, 8 juillet 2015

 

Pierre Balmain Haute Couture, 1958. modèle "Infidèle", Robe de cocktail

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Pierre Balmain Haute Couture, 1958. modèle "Infidèle", Robe de cocktail en organza de soie crème brodée de galons de paille naturelle et fil de soie vert pâleEstimation 3,500 — 4,500 €. Lot. Vendu 18,750 €. Photo: Sotheby's.

Pierre Balmain Haute Couture, 1958 An ivory organza cocktail dress with elaborate raffia, embroidery by Maison Lesage

NoteModèle exceptionnel pour sa broderie inspirée des gilets du XVIIIe siècle.

Modèle comparable reproduit dans: Palmer White, Lesage maître brodeur de la haute couture, Editions du Chêne, Paris, 1994, p. 21.

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Pierre Balmain Haute Couture, 1958. Modéle identique photographié dans les ateliers Balmain en 1958© DR

Sotheby's. Rencontres Couture à Paris de la Collection Didier Ludot, 8 juillet 2015


Christian Dior Haute Couture, automne-hiver 1957-1958. Ligne "Fuseau", Modèle ""Sarabande". Robe de cocktail

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Christian Dior Haute Couture, automne-hiver 1957-1958. Ligne "Fuseau", Modèle ""Sarabande". Robe de cocktail en tulle brodé de la Maison GuilleminEstimation 5,000 — 8,000 €. Lot. Vendu 15,000 €. Photo: Sotheby's.

Christian Dior Haute Couture , F/W 1957-58, ‘Fuseau’ line. A Fine silver-grey tulle and velvet ribbon trimmed dress, studded with rhinestones.

NoteDernière collection dessinée par Christian Dior avant son décès à Monte Catini.

Modèle comparable reproduit dans: L'Officiel de la mode, N°425-426, p. 107.

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Christian Dior Haute Couture, automne-hiver 1957-1958. Parution d’un modèle identique dans L’Officiel, 1957© DR

 Sotheby's. Rencontres Couture à Paris de la Collection Didier Ludot, 8 juillet 2015

Audrey Hepburn back at scene of her big break at National Portrait Gallery

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LONDONBefore Breakfast at Tiffany’s, before even Gigi, there was a jolly musical revue in London called Petite Sauce Tartare that helped propel a young Audrey Hepburn into the limelight – a show in a nightclub that is now part of the National Portrait Gallery (NPG).

It is a wonderful coincidence,” said Helen Trompeteler, associate curator of photographs at the gallery, which announced details on Tuesday of a major exhibition exploring the life and career of one of the century’s biggest film stars. “It is very special to us that she appeared in our building so early in her career.”

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The show will open in July 2015, the 65th anniversary of Hepburn’s appearance as a dancer and chorus girl in Petite Sauce Tartare at Ciro’s.

It will include intimate and rarely-seen photographs from the Hepburn family, as well as classic portraits by some of the century’s leading photographers such as Richard Avedon, Cecil Beaton, Irving Penn and Norman Parkinson.

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Hepburn in 1954, for the film Sabrina. Photograph: Bud Fraker/PA

The exhibition will also explore her close collaborations with the Paris couturier Hubert de Givenchy. His most famous muse, Hepburn once remarked: “His are the only clothes in which I am myself.”

She became one of the world’s most photographed women and what is striking is how in control Hepburn was of her image. “She had a very clear idea of how she wanted to be portrayed and in terms of how her image was used,” said Trompeteler.

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Hepburn in 1954. Photograph: Cecil Beaton/PA

Hepburn’s relationship with Givenchy and photographers such as Beaton was “very much her guiding, rather than her being a passive recipient”, she said.

For her to have that innate sensitivity about image-making and trying to control how she appeared through her use of fashion and work with Givenchy ... I think she was a very modern star in having that awareness.”

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Born in Brussels in 1929, Hepburn arrived in London in 1948 to take up a ballet scholarship at the Rambert Ballet School in Notting Hill.

Her appearances at Ciro’s on Orange Street, then the place to be seen and now the NPG’s public archive and study room, quickly got her noticed by talent scouts and photographers such as Antony Beauchamp.

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The world’s most elegant actress’: one of the magazine covers to feature in the exhibition. Photograph: Jours de France/PA

The exhibition will include the young Hepburn in fashion photographs taken by Beauchamp and pictures taken by Angus McBean in 1950 featuring her as the face of Crookes Lacto-Calamine skin cream (“Your skin is not for burning”).

After being spotted in Ciro’s, Hepburn began getting small parts in British films – she was a cigarette girl in Laughter in Paradise and a hotel receptionist in One Wild Oat in 1951.

That was also the year she landed the breakthrough role of Gigi on Broadway and the NPG show includes photographs by Larry Fried showing Hepburn backstage in her dressing room.

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There will be some rarely seen photographs including a behind-the-scenes series taken by Mark Shaw during the making of the film Sabrina in 1953.

Other confirmed loans will include Hepburn captured on set in Italy during the filming of War and Peace (1955), by Philippe Halsman and George Daniell; publicity photographs for Funny Face (1957) and on-set photographs taken by Terry O’Neill during the making of How to Steal a Million (1966) and Two for the Road (1967).

The gallery will also have original film posters, magazine spreads and front covers including one from Life magazine in 1961 of Hepburn in Givenchy for her role in Breakfast at Tiffany’s.

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The show will take visitors through her later philanthropic life, serving as a Unicef ambassador from 1988 until her death in 1993. In 1992 Hepburn was awarded the Presidential Medal of Freedom, the United States’ highest civilian award, in recognition of her contribution to the arts and her humanitarian work.

Trompeteler, who will co-curate the show with Terence Pepper, the gallery’s senior special adviser on photographs, said they had wanted to put on an Audrey Hepburn show for some time.

She has always been a subject we’ve been fascinated by and she has appeared in a few of our previous exhibitions but there’s never really been one exhibition entirely devoted to her iconography. It has been a long time coming.”

Audrey Hepburn: Portraits of an Icon will be at the National Portrait Gallery from 2 July-18 October

Tornabuoni Art to open new gallery in London with exhibition of more than 40 works by Lucio Fontana

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Lucio Fontana, Concetto spaziale, 1956. olio, tecnica mista e lustrini su tela, cm. 80x70 in basso a destra: l. Fontana 56.

LONDON.- Tornabuoni Art announced the opening of its sixth gallery, with a new space in London’s Mayfair in October 2015. In keeping with the gallery’s programme focused on Post-War and Novecento Italian art, the opening exhibition will celebrate the work of Lucio Fontana, founder of the Spatialist Movement. Featuring more than 40 iconic works by the artist, this will be the first solo show of Fontana’s work in London for almost a decade. Tornabuoni Art will be launched under the direction of Ursula Casamonti, daughter of the gallery’s founder Roberto Casamonti, who has worked closely alongside her father for 20 years. 

Strategically located on Albemarle Street, the new space will be designed by Marco Casamonti, owner of Studio Archea, Florence; he is also Ursula Casamonti’s brother, making the new gallery a true family project. The gallery will feature two exhibition spaces across two floors and has prepared both a dynamic and historical programme. Forthcoming exhibitions will include a group show of Italian Masters from the 50s and 60s, an exhibition of the works of Alighiero Boetti, and the first show in London of Luca Pignatelli’s work; other shows will include solo exhibitions by Arnaldo Pomodoro and Francesca Pasquali. 

The first exhibition on show at the gallery will be a solo presentation of work by Argentinian Italian artist Lucio Fontana. The Spatialist artistic movement, whose main principles were set out in the very first Manifiesto Blanco, outlined a new direction for art embracing science and technology. Fontana forged a new dimension of the flat surface, promoting the existence of new space beyond the canvas with one of the most primitive gestures in art history. This would lay the groundwork for the next twenty years of the artist’s practice. 

The extraordinary body of work displayed in the exhibition will illustrate Lucio Fontana’s most celebrated series from the 1930s to his death in 1968. These works will include a stunning black and yellow painting from the Barocchi series, a beautiful white Attese, Fontana’s most emblematic gestural aesthetic as well as a very rare black velvet on wood Pietre work from 1956. Fontana’s wife was a milliner, and the artist would sometimes uses pieces of fabric that his wife, Teresita, would leave around the house. In addition to these iconic works, the exhibition will feature further important pieces such as a Teatrino, and a seminal piece, exhibited in many major museum shows of the artist, called L’Inferno, 1956. It is an extremely rare and unique work, one of only four rhomboid shaped works ever made and one of the most important of Fontana’s oeuvre. 

To accompany the exhibition, the gallery will publish a hardback monograph published by Forma, Florence. The catalogue will feature essays by Enrico Crispolti, Luca Massimo Barbero and Edward Lucie-Smith.

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Lucio Fontana, Concetto spaziale, Attese, 1964. a tergo: firmato: “l. Fontana / ATTESE / “Concetto Spaziale” / Motta / fa un po sic] schifo.

Chopard. Fleur d’Opales Capsule Collection

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Chopard. Fleur d’Opales ring, 24.3ct black opaltsavorites garnets-set pistils, petals set with purple sapphires and amethysts.

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Chopard. Fleur d’Opales ring, oval 20ct opal, diamond-set pistils, petals set with tsavorites, lazulites and brown diamonds.

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Chopard. Fleur d’Opales ring, oval 9ct black opal, rubies and purple sapphires-set pistilspetals set with pink spinels.

Inspired by enchantment and exalted by the artistic crafts cultivated in our Geneva workshop, six exceptional floral rings feature the legendary opal. The first three pieces of this capsule collection, adorned with the most precious variation of all, the black opal, are unveiled during the Paris Fashion Week.

In Chopard's extraordinary garden, wonderful opal flowers have blossomed, combining titanium or zirconium with sapphires, amethysts, tsavorites, rubies, spinels and black diamonds. After Animal World, Chopard is exploring the plant world and its many wonders. The result is unique pieces with a design which is testimony to the genius of goldsmithing exercised at its highest level, mirroring the artistic crafts in Haute Couture. The opals used for this exceptional capsule collection are traceable and come from a sustainable supply that complies with ethical and environmental criteria.

The opal, from stone to exceptional jewel

By turning his opal ring, Gyges became invisible. From the dawn of time, Greek and Roman mythology has represented the opal as a stone considered to have magic powers. From the Middle Ages to the Second Empire, the opal has suffused history with its fiery radiance and has never ceased to nurture its own myths. Powerful and subtle, resplendent and iridescent, the opal fascinates with its own special light that seems to imbue the stone with a life of its own. Its mobile nature, changing colours and elusive reflections have led the opal to be considered a symbol of wholeness, a sacred manifestation.

The creations

Chopard's Fleur d’Opales rings set the scene for the precious black opal associated with titanium or zirconium. Titanium is extremely light and may be coloured with a wide range of hues, providing scope for all manner of fanciful interpretations. It takes on its full dimension when appearing alone, or else may be rendered invisible beneath a subtle gemsetting. Meanwhile, zirconium is making its first appearance in Chopard Haute Joaillerie creations: its hardness enables extremely high-precision workmanship.

On the first ring, a spectacular 24.3ct black opal presides in the centre of a titanium latticework of petals, delicately chiselled and set with purple sapphires and amethysts. Tsavorites set with 18ct white gold extend the body of the ring in a vibrant harmony of colour. 

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Chopard. Fleur d’Opales ring, 24.3ct black opal, tsavorites garnets-set pistils, petals set with purple sapphires and amethysts.

The second ring plunges the eye into an enchanting blue magic. A 20ct oval opal is exquisitely highlighted by diamond-set pistils and extended by finely veined blue titanium petals, while the body of the ring continues the spell with a harmonious arrangement of tsavorites, lazulites and brown diamonds.

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Chopard. Fleur d’Opales ring, oval 20ct opal, diamond-set pistilspetals set with tsavorites, lazulites and brown diamonds. 

The third creation features an oval 9ct black opal featuring the much sought-after flaming red play-of-colour, resoundingly echoed in the black rhodium-plated white gold pistils set with rubies and purple sapphires. The petals, made of blackened zirconium, are set with pink spinels. The body of the ring in interlaced rose and white gold is set with black diamonds. The petals of each ring are mobile, creating a vibrantly realistic effect.

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Chopard. Fleur d’Opales ring, oval 9ct black opal, rubies and purple sapphires-set pistilspetals set with pink spinels.

A fine ruby-ground famille-rose 'Bajixiang' altar vase, gu, Seal mark and period of Qianlong

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A fine ruby-ground famille-rose'Bajixiang' altar vase, gu, Seal mark and period of QianlongEstimate  500,000 — 700,000  HKD.  Lot sold. 1,062,500 HKD. Photo Sotheby's.

of archaistic gu form with a trumpet neck resting above a central bulb and a bell-shaped foot, the upper register finely decorated with the bajixiang emblems among leafy lotus scrolls between a band of ruyi-heads and an upright border of plantain leaves, all above a band of blue and yellow keyfret interrupted by a horizontal iron-red six-character seal within a horizontal panel , the lower register similarly decorated with the four remaining bajixiang, all reserved on a rich ruby-red ground, the interiors of the neck and base enamelled in turquoise; 26.4 cm., 10 3/8  in.

Note: A devout Buddhist and practitioner of Tibetan Buddhism, the Qianlong Emperor commissioned the furnishing of the Buddhist temples and ancestral halls with ritual vessels made from the finest materials, including cloisonné enamel, bronze and porcelain. Vases of this form belong to this group of ritual wares, which were produced in a range of colour palettes and sizes, and may have formed part of five-piece altar garnitures.

A closely related vase in the Tu Huo Zhai Museum, Hangzhou, was included in the exhibition Treasures of Imperial Porcelain, Zhejiang Provincial Museum, Hangzhou, 2001, cat. no. 130; and a slightly larger example was sold in our London rooms, 13th July 2005, lot 267. Compare also a yellow-ground vase of this type and with a Qianlong mark and of the period, in the Nanjing Museum, Nanjing, included in the exhibition Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1995, cat. no. 95; a coral ground example sold in these rooms, 8th October 2006, lot 1123 and a pair of doucai enamels sold in these rooms, 7th April 2015, lot 3707.

Sotheby's. CHINESE ART. 01 JUNE 2015 - 02 JUNE 2015 | 3:15 PM HKT - HONG KONG

A green-enamelled 'dragon' jar and cover ; jar: Mark and period of Kangxi ; cover: Qing dynasty, Qianlong period

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A green-enamelled 'dragon' jar and cover ; jar: Mark and period of Kangxi ;  cover: Qing dynasty, Qianlong periodEstimate  300,000 — 500,000 HKD.  Lot sold. 687,500 HKD. Photo Sotheby's.

well potted with a tapering ovoid body rising from a recessed base to a rounded shoulder and narrow short neck, decorated around the exterior in green enamel with a pair of five-clawed dragons in pursuit of a 'flaming pearl', all above an upright lotus lappet band, the shoulder with a bajixiang band between a border of concentric rings and another of ruyi heads, the base inscribed in underglaze blue with a six-character reign mark within a double-circle, the top of the cover similarly decorated with a dragon writhing sinuously next to a 'flaming pearl', the sides with a border of ruyi; 21 cm., 8 1/4  in.

NoteThe combination of green enamel on a white ground was first produced during the Chenghua period (1465-87) and the green dragon motif continued to adorn dishes and bowls throughout the Ming dynasty. This design was adopted by potters working during the Kangxi reign to decorate jars and dishes and remained popular throughout the Qing dynasty; see another Kangxi marked example, from the Qing Court collection and still in Beijing, published in The Complete Collection of Treasures of the Palace Museum. Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, pl. 190. Compare also a rare example of a Kangxi marked dish with the same decoration, from the Edward T. Chow Collection, sold in our Hong Kong rooms, 25th November 1980, lot 155 and more recently at Christie's Hong Kong, 30th April 2001, lot 682.

Sotheby's. CHINESE ART. 01 JUNE 2015 - 02 JUNE 2015 | 3:15 PM HKT - HONG KONG

A fine doucai 'Flower and Butterfly' wine cup, Qing dynasty, Kangxi period

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A fine doucai'Flower and Butterfly' wine cup, Qing dynasty, Kangxi periodEstimate  50,000 — 70,000  HKD.  Lot sold. 437,500 HKD. Photo Sotheby's.

delicately painted in underglaze-blue, iron-red and translucent green, yellow and aubergine enamels with four different butterflies fluttering above tall, slender grasses and flowering plants springing from outcrops of ornamental rockwork, the underside inscribed with a four-character Chenghua mark within a double-square; 9 cm., 3 1/2  in.

ProvenanceChristie's Paris, 14th June 2006, lot 357.

Note: A bowl of this decoration and a Chenghua mark in a double square was included in the exhibition Ch'ing Polychrome Porcelain, Hong Kong Oriental Ceramic Society, Hong Kong, 1977, cat. no. 57; a pair of similar bowls was sold in these rooms, 2nd May 2005, lot 601, and another 17th May 1988, lot 211. For the Chenghua origin of this design, see a slender doucai cup illustrated in Enamelled Ware of the Ming Dynasty. Porcelain of the National Palace Museum, Hong Kong, 1966, pl. 17.

Sotheby's. CHINESE ART. 01 JUNE 2015 - 02 JUNE 2015 | 3:15 PM HKT - HONG KONG


A famille-rose 'dragon' bottle vase, Mark and period of Guangxu

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A famille-rose'dragon' bottle vase, Mark and period of Guangxu. Estimate  180,000 — 250,000  HKD.  Lot sold. 300,000 HKD. Photo Sotheby's.

well potted with a globular body supported on a slightly splayed foot, sweeping up to a waisted neck and flared rim, deftly decorated around the exterior with a five-clawed dragon and a large phoenix, reaching for a 'flaming pearl' and a shining sun respectively, all among multicoloured clouds and above castellated lappets, the shoulder surrounded by further dragons chasing pearls and the neck painted with the 'Eight Buddhist Emblems' wreathed by flowering sprays, the gilt rim encircled by yellow ruyi, the base inscribed in underglaze blue with a six-character reign mark; 41 cm., 16 1/8  in.

ProvenanceSotheby’s London, 13th November 2003, lot 522.

Sotheby's. CHINESE ART. 01 JUNE 2015 - 02 JUNE 2015 | 3:15 PM HKT - HONG KONG

A large and fine famille-rose circular box and cover, Mark and period of Tongzhi

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A large and fine famille-rose circular box and cover, Mark and period of TongzhiEstimate  120,000 — 180,000  HKD.  Lot sold. 275,000 HKD. Photo Sotheby's.

well potted in the form of a large bun, the domed cover finely decorated with a central pink and yellow peony and a purple hibiscus, surrounded by detached flower sprays arranged in concentric circles including prunus, magnolia, orchid, camellia or lotus in the first two registers, iris, morning-glory and hydrangea nearer to the rim, the box similarly decorated with detached floral sprays, all carefully painted in pastels of colours on a white ground, the rims gilt, the base inscribed in iron red with a four-character reign mark ; 31 cm., 12 1/4  in.

ProvenanceAcquired from C.C. Teng & Co. during the 1990s.

Sotheby's. CHINESE ART. 01 JUNE 2015 - 02 JUNE 2015 | 3:15 PM HKT - HONG KONG

A rare blue and white and yellow-enamelled ‘dragon’ bowl, Mark and period of Xianfeng

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A rare blue and white and yellow-enamelled ‘dragon’ bowl, Mark and period of Xianfeng. Estimate  80,000 — 120,000  HKD.  Lot sold. 225,000 HKD. Photo Sotheby's.

with deep rounded sides rising from a slightly tapered foot to an everted rim, finely decorated around the exterior with two five-clawed yellow dragons striding among flames reaching for a ‘flaming pearl’, all reserved on a rich cobalt-blue ground, the interior similarly painted with a central medallion enclosing a yellow dragon writhing against blue clouds, the base inscribed in underglaze blue with a six-character reign mark; 10.4 cm., 4 1/8  in.

ProvenanceSotheby’s Hong Kong, 22nd May 1985, lot 178.

Note: A bowl of this pattern with Xianfeng mark is illustrated in H.A. van Oort, Chinese Porcelain of the 19th and 20th Centuries, Lochem, the Netherlands, 1977, col. pl. 39.

Sotheby's. CHINESE ART. 01 JUNE 2015 - 02 JUNE 2015 | 3:15 PM HKT - HONG KONG

A doucai 'Flowers and Birds' meiping, Qing dynasty, Kangxi period

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A doucai'Flowers and Birds'meiping, Qing dynasty, Kangxi period. Estimate  80,000 — 120,000  HKD.  Lot sold. 225,000 HKD. Photo Sotheby's.

rising from a waisted foot to a tapering shoulder and short waisted neck, finely painted in underglaze blue and finely enamelled with two long-tailed birds among lush flowering branches of peony, prunus and magnolia, the neck collared with a band of ruyi, all between single or double-line borders encircling the neck and foot, apocryphal Chenghua mark; 21.5 cm., 8 1/2  in.

ProvenanceSotheby's New York, 20th March 2007, lot 796. 

Sotheby's. CHINESE ART. 01 JUNE 2015 - 02 JUNE 2015 | 3:15 PM HKT - HONG KONG

A large doucai 'Phoenix and Peony' meiping, Qing dynasty

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A large doucai'Phoenix and Peony' meiping, Qing dynasty. Estimate  100,000 — 150,000  HKD.  Lot sold. 200,000 HKD. Photo Sotheby's.

the body sweeping to a high rounded shoulder, a short neck and lipped rim, decorated around the body with three main registers, the upper register with a pair of phoenix in flight, the central register with peony blooms, the lower register with a border of pendant plantain leaves, the base left in the biscuit; 62.5 cm., 24 5/8  in.

NoteCompare a similar meiping sold in these rooms, 22nd May 1985, lot 191, dated to the Qianlong reign; and a larger covered example of similar design, from the Collection of Sir John Buchanan Jardine, illustrated in R. Soame Jenyns, Later Chinese Porcelain, London, 1954, pl. 88. See also a similar meiping decorated with phoenix, sold in these rooms 8th October 2010, lot 2685 and previously 30th April 1991, lot 128

Sotheby's. CHINESE ART. 01 JUNE 2015 - 02 JUNE 2015 | 3:15 PM HKT - HONG KONG

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