Lot 472. Important ruby and diamond bangle-bracelet, Boucheron, circa 1935. Estimate 390,000 — 680,000 CHF. Lot sold 910,000 CHF. Photo  Sotheby's.

Of hinged design, one side decorated with calibré-cut rubies in concealed settings, the other pavé-set with brilliant-cut and baguette diamonds, inner circumference approximately 185mm, signed Boucheron, French assay and maker's marks, four small diamonds deficient.

Sotheby's. Magnificent Jewels and Noble Jewels, Genève, 12 mai 2015, 10:30 AM

Lot 473. Impressive natural pearl and diamond necklace from an European princely family. Estimate 295,000 — 585,000 CHF. Lot sold 838,000 CHF. Photo  Sotheby's.

Composed of a row of natural pearls measuring from approximately 5.15 to 12.20mm, alternating with seed pearls, on a pinched collet-set circular-cut diamond clasp, length approximately 640mm.

Illustrated with five additional cultured pearls which have been subsequently removed.

Accompanied by SSEF report no. 79509, stating that forty four pearls were found to be natural, saltwater, and one was found to be natural, freshwater.

Sotheby's. Magnificent Jewels and Noble Jewels, Genève, 12 mai 2015, 10:30 AM

Lot 493. Diamond tiara-necklace, last quarter of the 19th century, property of the Estate of Mary, Duchess of Roxburghe. Estimate 295,000 — 495,000 CHF. Lot sold 790,000 CHF. Photo  Sotheby's.

Composed of fleurs de lys and confronting scroll motifs, swing-set with a graduated row of twenty pear-shaped diamond, on a band composed of lozenge and trefoil motifs, set throughout with cushion-shaped and rose diamonds, several small stones deficient, length of necklace approximately 485mm, inner circumference of tiara frame approximately 430mm, the tiara detaches to form a necklace and a bandeau, the bandeau detachable into two sections of approximately 310mm and 145mm. 

Sotheby's. Magnificent Jewels and Noble Jewels, Genève, 12 mai 2015, 10:30 AM

Lot 252. Natural pearl and diamond necklace. Estimate 146,000 — 245,000 CHF. Lot sold 706,000 CHF. Photo  Sotheby's.

Lot 430. Baroque drop shaped natural pearl and diamond pendant, early 20th century. Estimate 295,000 — 485,000 CHF. Lot sold 658,000 CHF. Photo  Sotheby's.

CANBERRA.- A rare 2000 year old bronze sculptural head of the Roman emperor Augustus is one of the unique treasures in the British Museum’s A History of the World in 100 Objects exhibition, which is on view at the National Museum of Australia in Canberra.  

In its only east coast venue, A History of the World in 100 Objects uses items from around the globe to explore the last two million years of human history, sourcing the oldest objects from the British Museum’s collection and incorporating those from the present day. 

From stone to gold, clay to plastic, the exhibition traces human experience through objects people have made, including a 1.6 metre tall Assyrian relief, the famous Assyrian clay Flood Tablet (from modern Iraq) inscribed with the story of a great flood and an Ark and a small, but exquisite, gold llama from Peru. 

‘These rare objects from around the world challenge our notions of human history and throw new light on how we shaped the world in which we live – and how we continue to shape it,’ said National Museum director, Dr Mathew Trinca. 

The Assyrian clay Flood Tablet, 700–600 BCE, Kouyunjik (Nineveh), Iraq. © The Trustees of the British Museum

Inca llama made of gold, 1400-1550 CE, Peru. © The Trustees of the British Museum

 ‘I urge Australians to take advantage of a unique opportunity to see these objects and to explore the stories behind them,’ said Dr Trinca. 

‘For me, the most fascinating aspect of this exhibition is its unusual approach to history, using objects rather than texts. By looking closely at the things people made and used, we gain access to those parts of our shared past that were never recorded in literature, as well as cultures that never developed the need for writing,’ said Dr Belinda Crerar, curator of A History of the World in 100 Objects. 

A History of the World in 100 Objects takes visitors on a journey through time and place. 

An African stone-chopping tool that is one of the first known human made implements, the endearing Lewis Chessmen (which found fresh fame following their inclusion in the 2001 film adaptation of Harry Potter and the Philosopher’s Stone), a Basket from western Arnhem Land, Albrecht Dürer’s celebrated print The Rhinoceros, gold coins of Croesus and an elegant early bird-shaped stone pestle from Papua New Guinea, are among the huge range of objects on show. 

The Lewis Chessmen, made from walrus ivory, found on the Isle of Lewis, probably made in Norway c. 1150–1175 CE. © The Trustees of the British Museum

Australian Basket made from pandanus fibre,1900–1939 CE, Australia. © The Trustees of the British Museum

Albrecht Dürer, Rhinoceros, woodcut, print on paper, 1515 CE, Germany. © The Trustees of the British Museum.

Gold Coin of Croesus. Gold coin, minted in Turkey, around 550 BC. © The Trustees of the British Museum.

Bird-shaped Pestle. Stone pestle, found by the Aikora River, Oro Province, Papua New Guinea, 6000–2000 BC. © The Trustees of the British Museum

More contemporary objects include the David Hockney print, ‘In the Dull Village’ showing two men in a bed, a credit card and a solar powered lamp. The exhibition is an adaptation of a 2010 BBC / British Museum radio series of the same name. 

Hockney’s In the Dull Village. Etching, from England, AD 1966. © The Trustees of the British Museum.

Credit Card. Issued in the United Arab Emirates, AD 2009. © The Trustees of the British Museum.

Solar-powered Lamp and Charger. Manufactured in Shenzhen, Guandong, China, AD 2010. © The Trustees of the British Museum.

Exclusive to the Australian tour is the bronze Head of Augustus from Meroë, which is one of the most important surviving portraits of Rome’s first emperor. 

Head of Augustus, bronze, glass, calcite, 27-25 BCE, Meroe, Sudan. © The Trustees of the British Museum

The National Museum chose to include a 101st object representing a globally recognised Australian innovation. The CSIRO WLAN Test Bed (the precursor to modern Wi Fi) is the exhibition’s 101st object. 

A History of the World in 100 Objects on show in Canberra through 29 January 2017.

Olduvai Stone Chopping Tool. Tool found in Olduvai Gorge, Tanzania, 1.8–2 million years old. © The Trustees of the British Museum

Olduvai handaxe, Phonolite, 1.2–1.4 million years old, found in Olduvai Gorge, Tanzania. © The Trustees of the British Museum.

Swimming Reindeer. Sculpture carved from mammoth tusk, found in Montastruc, France, 11000 BC. © The Trustees of the British Museum.

Clovis Spear Point. Stone spearhead, found in Arizona, USA, 11000 BC. © The Trustees of the British Museum.

Ain Sakhri Lovers Figurine. Stone sculpture, found at Wadi Khareitoun, Judea, near Bethlehem, 9000 BC. © The Trustees of the British Museum.

Jomon Pot. Clay vessel, found in Japan, 5000 BC. © The Trustees of the British Museum.

Egyptian Clay Model of Cattle. Painted model, found at Abydos (near Luxor), Egypt, 3500 BC. © The Trustees of the British Museum.

Early Writing Tablet. Clay tablet, found in southern Iraq, 3100–3000 BC. © The Trustees of the British Museum.

King Den’s Sandal Label. Hippopotamus ivory label, found at Abydos (near Luxor), Egypt, around 2985 BC. © The Trustees of the British Museum.

Standard of Ur. Wooden box inlaid with mosaic, found at the royal cemetery of Ur, southern Iraq, 2600–2400 BC. © The Trustees of the British Museum.

Indus Seal. Stone stamp, from Harappa, the Indus Valley (Punjab) Pakistan, 2500–2000 BC. © The Trustees of the British Museum.

Jade Axe. Jade axe, found near Canterbury, England,4000–2000 BC. © The Trustees of the British Museum.

Rhind Mathematical Papyrus. Papyrus found at Thebes (near Luxor), Egypt, arounnd 1550 BC. © The Trustees of the British Museum.

Minoan Bull-leaper. Bronze statue of bull and acrobat, found in Crete, Greece, 1700–1450 BC. © The Trustees of the British Museum.

Mold Gold Cape. Finely worked gold cape, found in Mold, north Wales, 1900–1600 BC. © The Trustees of the British Museum.

Statue of Ramesses II, Granite statue, found at Thebes (near Luxor), Egypt, around 1250 BC. © The Trustees of the British Museum.

Chinese Zhou Ritual Vessel. Bronze gui, found in western China, 1100–1000 BC. © The Trustees of the British Museum.

Lachish Reliefs Stone panels, found at the Palace of King Sennacharib, Nineveh (near Mosul), northern Iraq, 700–692 BC. © The Trustees of the British Museum.

Sphinx of Taharqo, Granite sphinx, found at Kawa, northern Sudan, around 680 BC. © The Trustees of the British Museum.

The Inner coffin of Shepenmehyt, painted wood, c. 600 BCE, Egypt. © The Trustees of the British Museum.

Oxus Chariot Model, old model, found near the Oxus river, on the border of Afghanistan and Tajikistan, 500–300 BC.  © The Trustees of the British Museum.

Parthenon Sculpture: Centaur and Lapith. Marble relief, from the Parthenon, Athens, Greece, around 440 BC. © The Trustees of the British Museum.

Basse-Yutz Flagons. Bronze flagons, found in Moselle, north-eastern France, around 450 BC. © The Trustees of the British Museum.

Olmec Mask. Greenstone, 900-400 BCE, Mexico. © The Trustees of the British Museum.

Chinese Bronze Bell. Bronze bell, found in Shanxi province, China, 500–400 BC. © The Trustees of the British Museum.

Paracas Textile. Textile fragments, from the Paracas peninsula, Peru, 300–200 BC. © The Trustees of the British Museum.

Coin with Head of Alexander. Silver coin of Alexander the Great, minted in Lampsakos (Lapseki), Turkey, minted 305–281 BC. © The Trustees of the British Museum.

Mummy of Hornedjitef, Wooden mummy case, from Thebes (near Luxor), Egypt, about 240 BC. © The Trustees of the British.

Pillar of Ashoka. Stone fragment of a pillar, erected in Meerut, Uttar Pradesh, India, around 238 BC. © The Trustees of the British.

Rosetta Stone. Found at el-Rashid, Egypt, 196 BC. © The Trustees of the British.

Chinese Han Lacquer Cup. Lacquer cup, found near Pyongyang, North Korea, AD 4. © The Trustees of the British.

Warren Cup.Vessel, probably found at Bittir, near Jerusalem, AD 5–15. © The Trustees of the British.

North American Otter Pipe. Stone pipe, from Mound City, Ohio, USA, 200 BC–AD 100. © The Trustees of the British.

Ceremonial Ballgame Belt. Stone belt, found in Mexico, AD 100–500. © The Trustees of the British.

The emperor turns to reject his wife. Admonitions Scroll. Painting, from China, AD 500–800. © The Trustees of the British Museum.

The Hoxne 'Empress' pepper pot. Silver pot, found in Hoxne, Suffolk, England, AD 350–400 © Trustees of the British Museum.

Seated Buddha from Gandhara. Stone statue, from Pakistan, 100–300 AD. © Trustees of the British Museum.

Gold Coins of Kumaragupta I. Gold coins, from India, minted AD 415–450. © Trustees of the British Museum.

Plate showing Shapur II, Silver plate, from Iran, AD 309–379. © Trustees of the British Museum.

Hinton St Mary Mosaic. Roman mosaic, from Hinton St Mary, Dorset, England, AD 300–400. © Trustees of the British Museum.

Arabian Hand, bronze, 100-300 CE, Yemen. © The Trustees of the British Museum.

Statue of Mithras, marble, 100–200 CE, Rome, Italy. © The Trustees of the British Museum.

Bust of Sophocles Marble, 220-160 CE, Italy. © The Trustees of the British Museum.

Gold Coins of Abd al-Malik. Gold coins, minted in Damascus, Syria, minted AD 696–697. © The Trustees of the British Museum.

Sutton Hoo Helmet, Anglo-Saxon helmet, found at Sutton Hoo, Suffolk, England, 600–650 AD. © The Trustees of the British Museum.

Moche Warrior Pot. Clay pot, from Peru, AD 100–700. © The Trustees of the British Museum.

Korean Roof Tile. Ceramic tile, from South Korea, 700–800 AD. © The Trustees of the British Museum.

Silk Princess Painting. Silk painting, from Xinjiang province, China, 600–800 AD. © The Trustees of the British Museum.

Maya Relief of Royal Blood-lettin.; Stone relief, from,Yaxchilan (Chiapas), Mexico, 700–750 AD. © The Trustees of the British Museum.

Maya Maize God Statue. Stone statue, found in Copán, Honduras, AD 715. © The Trustees of the British Museum.

Harem Wall-painting Fragments. Fragments of wall-painting, from Samarra, Iraq, 800–900 AD. © The Trustees of the British Museum.

Lothair Crystal. Rock crystal depicting Susanna and the Elders, probably made in Germany, AD 855–869. © The Trustees of the British Museum.

Statue of Tara. Bronze statue, from Sri Lanka, AD 700–900. © The Trustees of the British Museum.

The two judges of the Chinese Underworld. Chinese Tang Tomb Figures. Ceramic sculptures, from Henan Province, China, around AD 728. © The Trustees of the British Museum.

Borobudur Buddha Head. Stone head of the Buddha, from Java, Indonesia, AD 780–840. © The Trustees of the British Museum.

Vale of York Hoard. Viking objects, found near Harrogate, England, buried around AD 927. © The Trustees of the British Museum.

Hedwig Beaker. Glass, probably made in Syria, 1100–1200 AD. © The Trustees of the British Museum.

Japanese Bronze Mirror. Bronze mirror, from Japan, 1100–1200 AD. © The Trustees of the British Museum.

Kilwa Pot Sherds. Ceramic fragments, found on a beach at Kilwa Kisiwani, Tanzania,AD 900–1400. © The Trustees of the British Museum.

Brass Hebrew Astrolabe, 1345–1355 CE, probably from Spain. © The Trustees of the British Museum.

Ife Head. Brass statue, from Nigeria, 1400–1500 AD. © The Trustees of the British Museum.

The David Vases. Porcelain, from Yushan county, China, AD 1351. © The Trustees of the British Museum.

Taino Ritual Seat. Wooden stool, from Santo Domingo, Dominican Republic, AD 1200–1500. © The Trustees of the British Museum.

Holy Thorn Reliquary. Reliquary made of gold, jewels and enamel, from Paris, France, AD 1350–1400. © The Trustees of the British Museum.

Icon of the Triumph of Orthodoxy. Tempera and gold leaf on a wooden panel, from Constantinople (Istanbul), Turkey, AD 1350–1400. © The Trustees of the British Museum.

Shiva and Parvati Sculpture. Stone statue, from Orissa, India, AD 1100–1300. © The Trustees of the British Museum.

Sculpture of Huastec Goddess. Stone statue, from Mexico, AD 900–1521. © The Trustees of the British Museum.

Hoa Hakananai’a Easter Island Statue. Stone statue, from Easter Island (Rapa Nui), Chile, AD 1000–1200. © The Trustees of the British Museum.

Tughra of Suleiman the Magnificent. Calligraphy, from Constantinople (Istanbul), Turkey, AD 1520–1566. © The Trustees of the British Museum.

Ming Banknote. Paper money, from China, AD 1375–1425. © The Trustees of the British Museum.

Jade Dragon Cup. Jade cup, from central Asia, AD 1417–1449. © The Trustees of the British Museum.

Mechanical Galleon. Mechanical galleon, from Augsburg, Germany, AD 1585. © The Trustees of the British Museum.

Benin Plaque: The Oba with Europeans. Brass plaque, from Benin, Nigeria, AD 1500–1600. © The Trustees of the British Museum.

Double-headed Serpent. Mosaic-decorated figurine, from Mexico, AD 1400–1600. © The Trustees of the British Museum.

Kakiemon Elephants. Porcelain figurines, from Japan, AD 1650–1700. © The Trustees of the British Museum.

Pieces of Eight. Spanish coins, minted in Potosí, Bolivia, minted AD 1573–1598. © The Trustees of the British Museum.

Shi’a Religious Parade Standard. Gilded brass parade standard, from Iran, AD 1650–1700. © The Trustees of the British Museum.

Miniature of a Mughal Prince. Painting on paper, from India, about AD 1610. © The Trustees of the British Museum.

Shadow Puppet of Bima. Shadow puppet, from Java, Indonesia, AD 1600–1800. © The Trustees of the British Museum.

 Mexican Codex Map. Map painted on bark, made in Tlaxcala, Mexico, AD 1550–1600. © The Trustees of the British Museum.

Reformation Centenary Broadsheet. Woodblock print, from Leipzig, Germany, AD 1617. © The Trustees of the British Museum.

Akan Drum. Drum, made in West Africa, found in Virginia, USA, AD 1700–1750. © The Trustees of the British Museum.

Hawaiian Feather Helmet. Feather helmet, from Hawaii, USA, AD 1700–1800. © The Trustees of the British Museum.

North American Buckskin Map. Map drawn on animal hide, from midwestern USA, AD 1774–1775. © The Trustees of the British Museum.

Australian Bark Shield. Wooden shield, from Botany Bay, New South Wales, Australia, around AD 1770. © The Trustees of the British Museum.

Jade Bi. Ring of jade, from Beijing, China, around 1200 BC, with AD 1790 inscription. © The Trustees of the British Museum.

Ship’s Chronometer from HMS Beagle. Brass chronometer, from England, AD 1800–1850. © The Trustees of the British Museum.

Early Victorian Tea Set. Stoneware and silver tea set, from Staffordshire, England, AD 1840–1845. © The Trustees of the British Museum.

Hokusai’s The Great Wave. Woodblock print, from Japan, AD 1830–1833. © The Trustees of the British Museum.

Sudanese Slit Drum. Drum, from Central Africa, AD 1850–1900. © The Trustees of the British Museum.

Suffragette-defaced Penny. Edward VII penny, from England, AD 1903–1918. © The Trustees of the British Museum.

Revolutionary Plate, glazed ceramic, 1919 CE, Russia. © The Trustees of the British Museum.

Throne of Weapons. Chair made of weapon parts, from Maputo, Mozambique, AD 2001. © The Trustees of the British Museum.

Jar with dragons, Ming dynasty, Reign of the Jiajing emperor (1522-1566), China, Jiangxi province. Porcelain with incised decoration and blue glaze. H. 4 1/8 in x Diam. 4 1/2 in, H. 10.5 cm x Diam. 11.5 cm. The Avery Brundage Collection, B60P2350. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

ncised with two five-clawed dragons alternating with pearls and clouds on the exterior, this vessel is glazed in plain white on the interior. A frieze of cloud patterns covers the shoulder and lotus panels surround the bottom, all covered with blue glaze. The incising is simple and shallow. The ridged band observable at the middle of the belly was caused by the joining together of the upper and lower parts. Traces of this inferior technique remain on many Ming wares and aid in key to their recognition. Gourd-shaped vases, flasks, jars, basins, tripods, dishes, bowls, and teapots of the period were all decorated with blue glaze.

Lot 492. Important diamond rivière, mid 19th century, property of the Estate of Mary, Duchess of Roxburghe. Estimate 245,000 — 340,000 CHF. Lot sold 586,000 CHF. Photo  Sotheby's.

Designed as a graduated row of forty-three collet-set cushion-shaped diamonds, on a similarly set clasp framed with single-cut diamonds, length approximately 465mm. 

Rivière [stream] is a term used to describe a necklace designed as a succession of gemstones individually set in simple collet or claw mounts without other ornamentation and often used as a synonym for a diamond set neck ornament. It is likely that the simple structure of the rivière was used for necklaces prior to the 18th century, but it was only in the second half of that century that rivières came to the forefront of jewellery design. These were formed of a line of gemstones of graduated size and mounted in closed collets.  By the turn of the century most rivières were set with gemstones mounted in open collets which remained the typical way of mounting until the end of the 19th century. A distinguishing feature of late 19th century rivières is the replacement of collets by claw settings.

Sotheby's. Magnificent Jewels and Noble Jewels, Genève, 12 mai 2015, 10:30 AM

Box with birds, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566), China, Jiangxi province. Porcelain with underglaze-blue decoration., qinghua ware. H. 1 1/8 in x Diam. 4 in, H. 2.9 cm x Diam. 10.2 cm. The Avery Brundage Collection, B60P1710.a-.b. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

A pair of phoenixes are set in the center of this work amid cloud buds and bordered by five cranes on both sides. The lid and box are painted in a bright purplish tonality. Various boxes in rectangular, square, round, or other multi-sided shapes were produced for storing seal-ink, cosmetics, or candies. They increased in size during the Jiajing period; some have been found as large as 38 cm in diameter. Dragons, phoenixes, and cranes—often amidst in flowers—commonly adorned these boxes. The appearance of phoenixes here suggests that the piece was used for cosmetic material.

Taoist figure Guandi, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566), China. Porcelain with celadon and biscuit glaze. H. 9 in x Circ. 11 1/2 in. The Avery Brundage Collection, B60P519. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Octagonal plate with the Eight Treasures and a longevity character, Ming dynasty, Reign of the Jiajing emperor (1522-1566). Carved red lacquer. H. 1 1/4 in x Diam. 6 3/4 in, H. 3.0 cm x Diam. 17.2 cm. Museum purchase, B83M10. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

This object has decorations that form the blessing of "May you be rich and may you live long!"

Dish with lions, Ming dynasty (1368-1644), Reign of the Jiajing emperor (1522-1566), China, Jiangxi province. White-glazed porcelain with overglaze enamel decoration. H. 1 1/8 in x Diam. 6 in, H. 2.9 cm x Diam. 15.2 cm. The Avery Brundage Collection, B60P2308. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

This type of decoration was applied on cups, dishes, and jars of the Jiajing period. The common motifs seen were fishes, cranes, boys, and lions. The interior bottom shows two lions playing with a ball in green enamel decoration on a red background. Around the outside there are another four lions. The red glaze is even and thick. Due to the softness of the clay, the shape was not completely retained during firing, giving this work its slightly concave base, a problem which occurred on many Ming wares. The dark-toned decoration must be the result of experimentation among Jiajing potters.

William Klein, Club Allegro fortissimo, Paris, 1990. Photo © William Klein. Courtesy Galerie Azzedine Alaïa.

PARIS - Près de deux cents photographies sont réunies dans l’exposition « Entre l’art et la mode: la collection Carla Sozzani », à la galerie parisienne Azzedine Alaïa.

Le regard de Carla Sozzani, figure majeure au croisement de la mode, de la photographie et de l’art

L’exposition présente une sélection de photographies issues de la collection qu’a constituée depuis presque quarante ans Carla Sozzani, une des personnalités majeures de la mode contemporaine. La galeriste et journaliste italienne occupe depuis le début des années 1970 une place influente à la fois dans le domaine de la mode et dans ceux de l’art, de la photographie et du design.

C’est par ses activités de journaliste de mode, en tant que rédactrice en chef des éditions spéciales de Vogue Italia puis en tant que correspondante de l’édition américaine de Vogue et enfin en tant que fondatrice de l’édition italienne de Elle que Carla Sozzani développe des relations avec des photographes célèbres tels que Herb Ritts, Robert Mapplethorpe, Sarah Moon, Nick Knight, Bruce Weber ou encore Peter Lindbergh.

Arthur Elgort, Azzedine Alaïa et Naomi Campbell, 1987. Photo ©Arthur Elgort. Courtesy Galerie Azzedine Alaïa.

De Richard Avedon à František Drtikol, des photographes de mode célèbres aux avant-gardes

C’est son regard, à la fois sensible et acéré, qu’elle porte sur le travail de ces photographes que dévoile l’exposition, à travers environ deux cents photographies, de signées par plus de soixante-dix photographes différents. De Man Ray à Sarah Moon, en passant par László Moholy-Nagy, Richard Avedon, William Klein ou encore Daido Moriyama, l’ensemble couvre une vaste période qui s’étend du 19e siècle à aujourd’hui.

Unis par une fascination commune pour le corps féminin et les beautés du monde, les clichés relèvent cependant d’enjeux variés et révèlent l’intuition experte de Carla Sozzani, qui est capable de faire cohabiter au sein de sa collection les œuvres reconnues comme la photographie de Marilyn Monroe prise en 1957 par Richard Avedon ou celle intitulée Club Allegro fortissimo, Paris, de William Klein et des œuvres confidentielles représentatives des mouvements avant-gardistes comme les photographies de Man Ray ou celle intitulée Dancers, réalisée en 1930 par František Drtikol et influencée par le cubisme tchécoslovaque et par le futurisme.

Horst P. Horst, Hands, 1947. Photo © Conde Nast. Courtesy Galerie Azzedine Alaïa.

PARIS - Carla Sozzani’s career in fashion spans almost 50 years, and for over 40 of those she has been collecting photographs. This month, her great friend Azzedine Alaïa is showing a selection of these in his gallery in the heart of the Marais district of Paris. Curated by Fabrice Hergott, director of the Museum of Modern Art in Paris, the work runs the gamut between the iconic – in the true sense of this most overused of words – to the obscure. And so, alongside Richard Avedon’s instantly recognisable 1957 portrait of Marilyn Monroe, Helmut Newton’s Charlotte Rampling at Hotel du Nord (1973) and Erwin Blumenfeld’s Doe Eye, Jean Patchett (1950), is a series of gentle images by Sarah Moon, a 2001 shot of the famously diminutive M. Alaïa and the not so diminutive Paolo Roversi, photographed by the latter, and documentary photography by Don McCullin.

William Clasxton, Peggy Moffitt in Rudi Gernreich Topless Swimsuit, 1964. Courtesy of Demont Photo Management. Courtesy Galerie Azzedine Alaïa.

Richard Avedon, Marilyn Monroe, 1957. © The Richard Avedon Foundation. Courtesy Galerie Azzedine Alaïa.

Roger Ballen, Portrait of Sleeping Girl, 2000. Courtesy of Roger Ballen. Courtesy Galerie Azzedine Alaïa.

Cecil Beaton, Paula Gellibrand, Marquise de Casa Maury, 1928© The Cecil Beaton Studio Archive at Sotheby’s. Courtesy Galerie Azzedine Alaïa.

Louise Dahl-Wolfe, Nude with Shadow Pattern, 1948© Louise Dahl-Wolfe, Courtesy of Staley-Wise Gallery, New York. Courtesy Galerie Azzedine Alaïa.

František Drtikol, Dancers, 1930. Courtesy of The Museum of Decorative Arts in Prague – Ruzena Knotkova. Courtesy Galerie Azzedine Alaïa.

Frank Horvat, Coco Chanel Watching her Défilé, 1958© Frank Horvat. Courtesy Galerie Azzedine Alaïa.

Sarah Moon, Avril pur Alaia, 2006© Sarah Moon. Courtesy Galerie Azzedine Alaïa.

Alice Springs, Helmut Newton, Rue Aubriot, Paris, 1976© Alice Springs. Courtesy Galerie Azzedine Alaïa.

Bruce Weber, A Letter to True, 2003© Bruce Weber. Courtesy Galerie Azzedine Alaïa.

Francesca Woodman, Eel series, Rome, Italy, May 1977 – August 1978. Courtesy of George and Betty Woodman. Courtesy Galerie Azzedine Alaïa.

 CHATSWORTH.- Next spring, Chatsworth will present its most ambitious exhibition to date, exploring the history of fashion and adornment: House Style: Five Centuries of Fashion at Chatsworth. Hamish Bowles, International Editor-at-Large at American Vogue, will curate this landmark show with creative direction and design by Patrick Kinmonth and Antonio Monfreda, the duo behind some of the most memorable fashion exhibitions of recent years. House Style will give unprecedented insight into the depth of the Devonshire Collection and the lives of renowned style icons from Georgiana, Duchess of Devonshire to Stella Tennant.  

The exhibition will bring to life the captivating individuals from the Cavendish family, including Bess of Hardwick, one of the most powerful women of the 16th century; the 18th century “Empress of Fashion” Georgiana, Duchess of Devonshire; and Adele Astaire, the sister and dance partner of Fred Astaire. Deborah Devonshire and Nancy Mitford, two of the Mitford sisters; model Stella Tennant and John F Kennedy’s sister ‘Kick’ Kennedy will also be central to the show. Telling the rich history of both international style and the Devonshire Collection, the exhibition will demonstrate the power of fashion to illuminate these extraordinary characters.  

Coronation robe on display atChatsworth House© Chatsworth.

House Style will be woven throughout one of Britain’s finest stately homes, including the largest and grandest room of the Baroque house, the Painted Hall; the Chapel and the lavishly decorated State Music Room. Layering art history, fashion, jewellery, archival material, design and textiles, the exhibition will be organised by theme, including Coronation Dress; The Devonshire House Ball; Bess of Hardwick and the Tudor influence; The Georgiana Effect; Ducal Style; Country Living; The Circle of Life; and Entertaining at Chatsworth.  

Highlights of the exhibition will include exceptional couture designed by Jean Phillipe Worth and Christian Dior, together with influential contemporary garments from designers such as Gucci, Helmut Lang, Margiela, Vivienne Westwood, Erdem, Alexander McQueen, Christopher Kane and Vetements. The show will also feature personal family collections, including items belonging to the current Duke and Duchess of Devonshire, such as a Givenchy bolero worn on the Duchess’ wedding day. These pieces will be displayed alongside livery, uniforms, coronation robes and fancy-dress costumes, demonstrating the varying breadth of fashion and adornment from the Collection throughout the generations. 

Chatsworth House © Chatsworth.

Important artworks will also be on display, including rare costume designs from the 1660s by Inigo Jones, Surveyor to the King’s Works and one of the most notable architects of 17th century England. Contemporary artist TJ Wilcox will be showing his intimate filmed portrait of Adele Astaire, which contains the only extant film of the star, found at Chatsworth in 2015.  

Hamish Bowles commented: “To be let loose in the wardrobe rooms, the gold vaults, the muniment room, and the closets, cupboards, and attics of Chatsworth, in search of sartorial treasures has been a dream come true for me. Chatsworth is a real treasure house and the characters of generations of Cavendish family members who have peopled its rooms and gardens and landscapes is revealed as vividly through their choice of clothing and adornments, as through the canvases and lenses of the great artists and photographers who have memorialised them through the centuries. In House Style, we hope to bring these compelling and fascinating people and the very different worlds they inhabited to life, through the clothes and the jewels that they wore.”  

Chatsworth House © Chatsworth.

Alessandro Michele, Creative Director at Gucci, commented: “Chatsworth is unlike anywhere else in the world. A place full of charm, history and rituals. It is a piece of England, of Europe and the contemporary world, all at the same time. You can see history everywhere, yet everything is alive. 

This exhibition proves how much historical objects are an incredible source of inspiration for creating the present. Thus far the house has been speaking, now House Style gives a voice to the wardrobes of its inhabitants and guests.” 

Chatsworth State bedroom © Chatsworth.

Patrick Kinmonth commented: “The patina of Chatsworth House itself is one of the greatest treasures of the collections, and looking at the surfaces and materials of clothes worn over hundreds of years in these very rooms proves to be a novel way to rediscover both the house and the wonderful things in it. Clothes and personal objects (especially jewels), in turn bring ghosts and visions of remarkable characters to the surface of the place, and we hope to conjure the presence of these remarkable men and women who have animated, loved and created this unique ensemble of great art, furniture and personal style in its many layers.” 

To coincide with the exhibition, Rizzoli will publish House Style: Five Centuries of Fashion at Chatsworth, with a foreword by the Duke of Devonshire; an introduction by the Countess of Burlington; edited by Hamish Bowles; and essays and texts by Hamish Bowles, Kimberley Chrisman-Campbell, Charlotte Mosley, Sarah Mower, Diana Scarisbrick, and Lady Sophia Topley. This book will be a 200-page survey of fashion at Chatsworth featuring photographs by Mario Testino, Cecil Beaton, Bruce Weber, Steven Meisel, Tim Walker, Ellen von Unwerth, and many previously unseen pictures from the Devonshire personal photograph albums

Chatsworth garden. © David Vintiner

House Style: Five Centuries Of Fashion At Chatsworth will run from March 25 to October 22 2017.

 A pair of “Rockefeller Pattern” dishes, Late Qianlong (1736-1795), circa 1790-1800. © Galerie Nicolas Fournery 2016

A pair of Rockefeller pattern dishes decorated in the highest quality of the end of the Qianlong period, with Mandarin scenes within roundels center the design while finely rendered sepia landscapes float in reserve against meticulously detailed gilded ground. 7.48 in. (19.5 cm). Price upon request (Reference :B390) 

Related works: For a large part dinner, property of Mr. and Mrs. David Rockefeller, see Sotheby’s NYC, Chinese Export Porcelain, 14 october 1993, lot 79 and next lots.

Works by master printmakers, including Rembrandt and his peers, are on view in “The Wonder of Everyday Life: Dutch Golden Age Prints” at Cantor Arts Center at Stanford. Courtesy Cantor Arts Center

STANFORD, CA.- The Cantor Arts Center is presenting The Wonder of Everyday Life: Dutch Golden Age Prints, a major exhibition running through March 20. The approximately 55 works on view, by Rembrandt van Rijn and his Dutch peers, were created during an extraordinary moment in the history of prints, when unprecedented economic prosperity and patronage elevated printmaking in the Dutch Republic during the 17th century, an era known as the Golden Age. While art imported from southern Europe and Dutch colonial outposts in Asia saturated the burgeoning market, newly wealthy collectors also demanded contemporary Dutch prints. Rembrandt and his peers responded with traditional biblical and mythological subjects, but also familiar landscapes and character studies inspired by daily life. 

Elizabeth Kathleen Mitchell, Burton and Deedee McMurtry Curator of Drawings, Prints and Photographs, said, “These visionary artists held a mirror up to society, enabling the Dutch to contemplate their identity and values during a time of tremendous change. The resulting images are as psychologically engaging as they are beautiful.” 

Jan de Baen (the Netherlands, 1633–1702). The Burning of the Town Hall in Amsterdam, 1652. Etching. Cantor Arts Center Collection, Alice Meyer Buck Fund, 1983.100. Courtesy Cantor Arts Center

A hallmark of Golden Age prints is the emphasis—bordering on obsession—placed on depicting the material world. The images were often imagined scenes composed in the studio from previously observed vignettes. However, they so closely capture the details of Dutch culture as to feel like direct documentation. What’s more, the small scale of many prints meant that the viewer must physically engage with them—hold them close, feel the paper and smell the ink. These works inspired the public to regard visual art as capable of rivaling poetry at describing complex sensory and emotional experiences and helping people navigate spirituality’s role in a modern and affluent society.  

Works in the show include portraits and self-portraits by Rembrandt that demonstrate how he revolutionized etching, using it with the intimacy and directness generally associated with drawing. Figure studies, such as Rembrandt’s well-known work The Pancake Woman (1635) and Adriaen van Ostade’s The Knife Grinder (1671), represent various trades and social types, and give descriptive attention to clothing and naturalistic gestures. A landscape Rembrandt created in 1641 captures the traditional architecture and the ways people lived in the areas outside Amsterdam, while landscapes by Anthonie Waterloo and Reinier Nooms demonstrate the Dutch fascination with manipulating light and dark to create visual drama. 

Rembrandt van Rijn (the Netherlands, 1606–1669), Self-Portrait with Saskia, 1636. Etching. Gift of Honor Spitz and Ellen Berger, 1988.256. Courtesy Cantor Arts Center

Prints depicting disasters, which were very popular during the Golden Age, are also on display. Such images documented actual or imagined events while implying the thrill of disorder and danger, but at a safe distance. In an economy oriented around trade, the anxiety underpinning an image of men rescuing a ship in peril—Reinier Nooms’s Beached Ship (1652–54)—would have resonated with sailors and merchants. In Jan de Baen’s The Burning of the Town Hall in Amsterdam (1652), meanwhile, the primary light source is the raging fire that destroyed Amsterdam’s medieval town-hall building. 

The exhibition’s religious subjects include Rembrandt’s Joseph Telling His Dreams (1638), wherein the artist used closely observed facial expressions and gestures to make the biblical narrative feel familiar and relatable. Rembrandt depicted the figures surrounding Joseph with a casual ease that echoes the interactions seen in the tavern scenes and other genre pictures on view in the exhibition. In The Star of the Kings: A Night Piece (1651), Rembrandt, inspired by Italian, Flemish and French Baroque painting, enhanced the psychological tension in the image by punctuating darkness with glimpses of bright light. The viewer’s attention is directed toward the somber faces of the participants in a Twelfth Night celebration preceding the Epiphany feast day, making this unremarkable event seem both humble and monumental.  

Ferdinand Bol (the Netherlands, 1616-1680), Portrait of an Officer (SelfPortrait), 1645. Etching and drypoint. Ruth Levison Halperin Gallery at Cantor Arts Center, Stanford. (Cantor Arts Center Collection, Mortimer C. Leventritt Fund, 1972.53. Courtesy Cantor Arts Center

The mezzotint process, an invention of the 17th century, is also represented in the exhibition. This process offered printmakers a completely different method for creating striking and visually naturalistic highlights. Revered for its fluid and painterly qualities, a mezzotint is printed from a copper plate that has been evenly roughened with a tool called a rocker. The artist then uses another tool with a flat end to smooth out the areas he wants to not hold ink and therefore appear white in the final image. To create One of the Crucified Thieves (after 1642), an unidentified artist deftly exploited the mezzotint’s capacity to express remarkable detail, as seen in the thief’s musculature and the texture of his hair. 

The exhibition, on view in the Cantor’s Ruth Levison Halperin Gallery, is loosely organized into three sections: Life’s Rhythms and Rituals; Rembrandt: Faces and Shadows; and Science, Technology, and Nature. In addition to Jan de Baen, Reinier Nooms, Rembrandt van Rijn, Adriaen van Ostade and Anthonie Waterloo, artists represented are Cornelis Bega, Ferdinand Bol, Johannes Teyler, Wallerant Vaillant, Jan de Visscher and Claes Janszoon Visscher.

Lot 303. A large Famille Rose punch bowl, Early Qianlong period. Estimate USD 20,000 - USD 30,000 © Christie's Images Ltd 2016.

A continuous palace garden scene on the exterior, a deep floral border above a large central floral cluster inside - 15 ½ in. (38.1 cm.) diameter 

The Popowich Collection.

Christie's. Chinese Export Art, 18 January 2017, New York, Rockefeller Center