Parmigianino (Italian, 1503-1540), Self-portrait in a Convex Mirror, circa 1523-1524. Oil on poplar wood, diameter: 24.4 cm (9.6 in). Kunsthistorisches Museum, Vienna.
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Parmigianino (Italian, 1503-1540), Self-portrait in a Convex Mirror, circa 1523-1524
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Parmigianino (Italian, 1503-1540), Self-portrait with red beret, circa 1540
Parmigianino (Italian, 1503-1540), Self-portrait with red beret (Autoritratto con berretto rosso), circa 1540. Oil on paper, 21 × 15.5 cm. Galleria Nazionale di Parma.
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A turquoise-glazed square vase and green and aubergine-glazed stand; the vase 18th century, the stand 18th-19th century
Lot 987. A turquoise-glazed square vase and green and aubergine-glazed stand; the vase 18th century, the stand 18th-19th century. Estimate USD 3,000 - USD 5,000. Photo Christie's Image Ltd 2016.
The vase is covered on the exterior with an iridescent, crackled turquoise glaze and set within European gilt-metal mounts. The waisted stand is supported on slightly incurved legs, and has an apron of interlocking lozenges. The vase and mounts 5 3/8 in. (14.3 cm.) high, the stand 6 ¼ in. (15.8 cm.) square.
Provenance: Samuel Putnam Avery Sr. (1822-1904) Collection, New York.
The Metropolitan Museum of Art, New York, accessioned in 1879.
Christie's. Collected in America: Chinese Ceramics from The Metropolitan Museum of Art, 15 September 2016, New York, Rockefeller Plaza
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A turquoise-glazed bottle vase, 18th-19th century
Lot 988. A turquoise-glazed bottle vase, 18th-19th century. Estimate USD 8,000 - USD 12,000. Photo Christie's Image Ltd 2016.
Thickly potted with a compressed, globular body, the vase is covered on the exterior with a crackled turquoise glaze which continues into the interior of the mouth. 15 ¾ in. (40 cm.) high.
Provenance: Mr. and Mrs. Isaac D. Fletcher (d. 1917) Collection.
The Metropolitan Museum of Art, New York, accessioned in 1917.
Christie's. Collected in America: Chinese Ceramics from The Metropolitan Museum of Art, 15 September 2016, New York, Rockefeller Plaza
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Ecclesiastical textiles from the age of Maria Theresia on view in Vienna
VIENNA.- The Ecclesiastical Treasury house's important holdings of 18th-century liturgical vestments cannot be on permanent display for conservation reasons. The majority of these precious textiles were donated by Emperor Charles VI (1685-1740), his wife Elisabeth Christine (1691-1750) and their daughter Maria Theresia (1717-1780). At the time it was customary to use costly French or Italian fabrics, lavishly embellished with embroidery, for such vestments. Imperial robes were also occasionally reworked into such robes.
The exhibition offers insights into the wealth and exceptional quality of the Imperial Treasury’s holdings of precious vestments, which reflect the Pietas Austriaca, the deep piety of the House of Habsburg.
"Paperl" (parrots) Vestments: cope donated by Elisabeth Christines (1691–1750), the wife of Emperor Charles VI, produced in Vienna c. 1712/40; h. 157 cm, w. 304 cm © KHM-Museumsverband
"Paperl" (parrots) Vestments: cope (detail) donated by Elisabeth Christines (1691–1750), the wife of Emperor Charles VI, produced in Vienna c. 1712/40; h. 157 cm, w. 304 cm © KHM-Museumsverband
"Paperl" (parrots) Vestments: chasuble donated by Elisabeth Christines (1691–1750), the wife of Emperor Charles VI, produced in Vienna c. 1712/40; h. 157 cm, w. 304 cm © KHM-Museumsverband
The museum has also included a selection of contemporary ecclesiastical garments produced after designs by the artists Christof Cremer and Stephan Hann. They document the high standard liturgical vestments are still expected to meet today as they continue to form a seminal part of the celebration of Mass.
In connection with the exhibition, the museum has also decided to confront three modern copes produced after designs by Christof Cremer with historical vestments in a display installed in the so-called Paramentengang (vestment corridor) in the Ecclesiastical Treasury. This is the first time that contemporary art is displayed in the Treasury since it was newly installed and reopened in the 1980s.
Black Ladies-Vestments: chasuble donated by Maria Theresia (1717–1780), produced in Vienna, 1776; h. 106 cm, w. 72 cm © KHM-Museumsverband
Black Ladies-Vestments: chasuble donated by Maria Theresia (1717–1780), produced in Vienna, 1776; h. 106 cm, w. 72 cm © KHM-Museumsverband
FOR THE GLORY OF GOD
The extensive holdings of the Ecclesiastical Treasury in Vienna are largely unknown to the general public; they comprise mainly vestments and liturgical textiles that were used to celebrate Mass or during religious festivities. Totalling around 1.700 artefacts, the collection includes both sets of vestments and individual textiles. Many of these precious garments were donated by members of the House of Habsburg who for centuries ruled the Holy Roman Empire. The pomp and circumstance associated with this high office is reflected in the costliness of these sumptuous textiles, the finest of which date from the Baroque, the apogee of Habsburg piety. Unlike mediaeval ecclesiastical textiles, baroque vestments generally feature not figurative but purely ornamental decorations. Precious secular silks adorned with a variety of designs frequently function as the base material, which is then elaborately embellished with appliqués, lace or gold-, silver- and silk embroidery to produce opulent textile works of art.
"Coat-Dress" Vestments: chasuble donated by Maria Theresia (1717–1780), produced in Vienna, 2nd half of the 18th century; h. 106 cm, w. 75 cm © KHM-Museumsverband
"Blue Vestments": chasuble donated by Maria Theresia (1717–1780), produced in Vienna, 1778; h. 106 cm, w. 73 cm © KHM-Museumsverband
"Blue Vestments": chasuble (detail) donated by Maria Theresia (1717–1780), produced in Vienna, 1778; h. 106 cm, w. 73 cm © KHM-Museumsverband
The leading benefactress in the 18th century was Maria Theresia (1717-1780). She donated precious textiles for use in the imperial palace chapel and the chapels of the different imperial summer residences at Schönbrunn, Laxenburg and Hetzendorf, as well as in St. Augustine’s church in Vienna. The latter evolved into a major stage for Habsburg piety. Here newly-appointed bishops were invested. All these places were lavishly appointed with sumptuous ecclesiastical textiles.
Contemporary sources clearly document the seminal role played by high-quality vestments during the Baroque. Many of these artefacts have been preserved in the Ecclesiastical Treasury because of their preciousness and the prominent benefactors who donated them. A selection is on show in this exhibition.
Mitra donated by Emperor Charles VI (1685–1740), produced in Vienna (?), 1712/40; h. 77 cm, w. 30 cm © KHM-Museumsverband
Black chasuble design: Christof Cremer (*1969), produced in Germany, 2014; h. 135 cm, w. 155 cm, Priest Hans Stieler, Cologne © Paramentenhaus Wefers, Cologne.
Black chasuble design: Christof Cremer (*1969), produced in Germany, 2014; h. 135 cm, w. 155 cm, Priest Hans Stieler, Cologne ©Julia Oppermann
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An exceptionally large and rare carved celadon-glazed 'dragon' vase, Qing dynasty, Qianlong period (1736-1795)
Lot 253. An exceptionally large and rare carved celadon-glazed 'dragon' vase, Qing dynasty, Qianlong period (1736-1795). Estimate 60,000 — 80,000 USD. Photo: Sotheby's.
of monumental size, the ovoid body rising from a splayed foot and sweeping up to a waisted neck, the exterior crisply carved overall in varying levels of relief with a lively and unusual scene of five three-clawed dragons, the principal dragon centered and full-frontal flanked by four striding dragons, with front claws clasping long lingzhi stems, with the central dragon grasping a further lingzhi head in its mouth, the bodies finely detailed with small raised spots, all framed within a band of ruyi at the shoulder with a border of lotus lappets below and a pendent trefoil band at the foot, the neck encircled by a broad band of upright stylized plantain leaves, covered overall with a watery celadon-green glaze, skillfully transmuting to white along the higher relief details and pooling to a sea-green in the recesses, the base unglazed, the reduced neck mounted in silver Height 31 1/2 in., 80.2 cm
Provenance: Canadian private collection, acquired in the 19th century (by repute).
Notes: Striking for its impressive size and carved design which emerges under a cool celadon glaze, this vase draws on celebrated porcelain traditions and reinterprets them to result in a rare and engaging piece. The crisp celadon glaze displays the Qing emperors’ admiration of Longquan celadon wares of the Song period, and their efforts to replicate it. The carved motif, on the other hand, is highly unusual and appears to be an 18th century innovation that displays the technical proficiency of the craftsmen working at the Imperial kilns in Jingdezhen, who created a rich and sumptuous effect by filling outlines with a multitude of small dots in order to depict the dragons’ scales. A similar motif is found on two blue and white vases with Qianlong marks and of the period, one in the National Palace Museum, Taipei, illustrated in Porcelain of the National Palace Museum. Blue-and-White Ware of the Ch’ing Dynasty, Hong Kong, 1968, vol. II, pl. 10, and the other sold at Christie’s London, 11th July 2006, lot 142; and on a double-gourd copper red vase, also with a Qianlong mark and of the period, sold in our Hong Kong rooms, 8th April 2010, lot 1867.
While no other celadon-glazed vase of this shape and size appears to have been published, a Qianlong mark and period vase of globular shape, carved with a similar motif of dragons and also with upright leaves on the neck and ruyi heads on the shoulder, from the Qing Court collection and still in Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 137; a pear-shaped vase, in the Wang Xing Lou collection, is published in Imperial Perfection. The Palace Porcelain of Three Emperors, Hong Kong, 2004, pl. 71; and a globular vase, carved with dragon and phoenix, from the Ohlmer collection, in the Roemer Museum, Hildesheim, is illustrated inChinesisches Porzellan, Mainz am Rhein, 1981, col. pl. 89.
Sotheby's. Important Chinese Art, New York, 13 sept. 2016, 10:30 AM
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Parmigianino (Italian, 1503-1540), Saint Barbara, 1522
Parmigianino (Italian, 1503-1540), Saint Barbara, 1522. Oil on canvas, 39 x 48 cm. Museo del Prado, Madrid, Spain.
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Parmigianino (Italian, 1503-1540), Pallas Athene, 1539
Parmigianino (Italian, 1503-1540), Pallas Athene, 1539. Oil on canvas, 45.1 x 63.8 cm. Royal Collection, Windsor Castle.
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A large 'Guan'-type brushwasher, Qianlong seal mark and period (1736-1795)
Lot 257. A large 'Guan'-type brushwasher, Qianlong seal mark and period (1736-1795). Estimate 10,000 — 15,000 USD. Photo: Sotheby's.
of quadrilobed form, the shallow sides gently flaring to an everted rim, all supported on four ruyi-head feet, covered overall in a rich pale blue-gray glaze suffused throughout with a network of widely spaced dark gray crackles, the base inscribed with a six-character seal mark in underglaze blue, fitted wood stand (2). Length 9 7/8 in, 30.8 cm
Provenance: Collection of A. L. Gump (1869-1947), San Francisco, California, 1920.
Collection of Marilyn Gump, San Francisco, California, 1970.
Collection of Charles Bromwell (1936-2005), California.
Sotheby's. Important Chinese Art, New York, 13 sept. 2016, 10:30 AM
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A large 'Guan'-type vase, hu, Qianlong seal mark and period (1736-1795)
Lot 259. A large 'Guan'-type vase, hu, Qianlong seal mark and period (1736-1795). Estimate 20,000 — 30,000 USD. Photo: Sotheby's.
oof archaic bronze form, the pear-shaped body of rounded rectangular section subtly molded with a raised panel on each side, rising from a short slightly splayed foot to a quatrefoil rim, set with a pair of rectangular handles, applied overall with a pale caesious-colored glaze finely streaked with a random matrix of dark gray and pale brown crackle stopping neatly above the foot revealing the grayish-brown body, the interior and the recessed base glazed and with a six-character seal mark in underglaze blue. Height 11 3/4 in., 27.9 cm.
Sotheby's. Important Chinese Art, New York, 13 sept. 2016, 10:30 AM
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House of Dior, Raf Simons, Dress, spring-summer 2014, Haute Couture
House of Dior (French, founded 1947). Raf Simons (Belgian, born 1968). Dress, spring-summer 2014, Haute Couture. Machine–sewn white silk mousseline with hand–embroidered cutwork and appliqué of hand–cut black silk chiffon and white silk embroidered flowers, hand–embroidered with red beads. Photo © Nicholas Alan Cope.
House of Dior (French, founded 1947). Raf Simons (Belgian, born 1968). Dress(detail), spring/summer 2014, Haute Couture. Machine–sewn white silk mousseline with hand–embroidered cutwork and appliqué of hand–cut black silk chiffon and white silk embroidered flowers, hand–embroidered with red beads. Photo © Nicholas Alan Cope
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Karl Lagerfeld for House of Chanel, Wedding ensemble, autumn-winter 2005–6, Haute Couture
Karl Lagerfeld (French, born Hamburg, 1938) for House of Chanel (French, founded 1913). Wedding ensemble, autumn-winter 2005–6, Haute Couture. Courtesy of CHANEL Patrimoine Collection | Photo © Nicholas Alan Cope.
Karl Lagerfeld (French, born Hamburg, 1938) for House of Chanel (French, founded 1913). Wedding ensemble, autumn/winter 2005–6, Haute Couture. Courtesy of CHANEL Patrimoine Collection | Photo © Nicholas Alan Cope.
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House of Chanel, Karl Lagerfeld, Dress, spring-summer 2014, Haute Couture
House of Chanel (French, founded 1913). Karl Lagerfeld (French, born Hamburg, 1938). Dress, spring-summer 2014, Haute Couture. Machine–sewn black silk satin and tulle, hand–embroidered with black and transparent opalescent plastic sequins, opalescent cellophane fringe, and black duck, cock, and ostrich feathers; hand–finished. Photo © Nicholas Alan Cope.
House of Chanel (French, founded 1913). Karl Lagerfeld (French, born Hamburg, 1938). Dress (detail), spring/summer 2014, Haute Couture. Machine–sewn black silk satin and tulle, hand–embroidered with black and transparent opalescent plastic sequins, opalescent cellophane fringe, and black duck, cock, and ostrich feathers; hand–finished. Photo © Nicholas Alan Cope.
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House of Balenciaga, Nicolas Ghesquière, Dress, spring-summer 2008, Prêt–à–Porter
House of Balenciaga (French, founded 1937). Nicolas Ghesquière (French, born 1971). Dress, spring-summer 2008, Prêt–à–Porter. Machine–sewn, laser–cut, and perforated polychrome–printed silk satin, laminated to warp–knit mesh and black silk–synthetic scuba knit; machine–stitched eyelets, hand–threaded with black synthetic laces. Photo © Nicholas Alan Cope.
House of Balenciaga (French, founded 1937). Nicolas Ghesquière (French, born 1971). Dress(detail), spring/summer 2008, Prêt–à–Porter. Machine–sewn, laser–cut, and perforated polychrome–printed silk satin, laminated to warp–knit mesh and black silk–synthetic scuba knit; machine–stitched eyelets, hand–threaded with black synthetic laces. Photo © Nicholas Alan Cope.
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Belts
Belt buckle, strap, by Hermès. Tank top and jeans, Dolce & Gabbana. Rings, David Yurman. Dan Forbes
Belt by Tom Ford. Shirt and jeans, Tom Ford. Bracelet (right), Burkman Bros. Watch, Cartier. Ring Degs & Sal. Dan Forbes
Belt by Salvatore Ferragamo. Shirt, Saturdays NYC. Jeans Fabric-Brand & Co. Bracelets, from left Degs & Sal, Chamula, Degs & Sal, Miansai, George Frost. Watch, Cartier. Ring, David Yurman. Dan Forbes
Belt by Gucci. Shirt Gucci. Jeans Ron Herman Denim. Dan Forbes
Belt by Bally. Jeans, Citizens of Humanity. T-shirt, Splendid Mills. Dan Forbes
Belt by Louis Vuitton. Jacket, Louis Vuitton. Jeans, Levi’s. Dan Forbes
Belt by Ralph Lauren. Shirt and jeans, Ralph Lauren. Woven bracelets, Burkman Bros. Silver bracelets, Tiffany & Co. (left) George Frost (top). Watch, Georg Jensen. Rings, from top Degs & Sal David Yurman. Dan Forbes
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Parmigianino (Italian, 1503-1540), Virgin And Child With An Angel, 1523
Parmigianino (Italian, 1503-1540), Virgin And Child With An Angel, 1523. Oil on panel, 19 x 26 cm. Städelsches Kunstinstitut, Frankfurt am Main, Germany.
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Parmigianino (Italian, 1503-1540), Rest On The Flight To Egypt, 1524
Parmigianino (Italian, 1503-1540), Rest On The Flight To Egypt, 1524. Oil on panel, 110 x 89 cm. Museo del Prado, Madrid.
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A rare small black-glazed pear-shaped vase, Kangxi six-character mark in underglaze blue and of the period (1662-1722)
Lot 1355. A rare small black-glazed pear-shaped vase, Kangxi six-character mark in underglaze blue and of the period (1662-1722). Estimate USD 15,000 - USD 20,000. Photo Christie's Image Ltd 2016.
The exterior is covered with a lustrous black glaze in contrast to the white rim and interior. 8 in. (20.2 cm.) high
Note: Compare the similar Kangxi-marked vase of comparable height (7 5/8 in.) sold at Christie's New York, 22-23 March 2012, lot 2098..
Christie's. Fine Chinese Ceramics and Works of Art, 16 September 2016, New York, Rockefeller Plaza
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A celadon-glazed incised floral bowl, Qianlong six-character seal mark in underglaze and of the period (1736-1795)
Lot 1358. A celadon-glazed incised floral bowl, Qianlong six-character seal mark in underglaze and of the period (1736-1795). Estimate USD 6,000 - USD 8,000. Photo Christie's Image Ltd 2016.
The rounded, flared sides are incised on the interior and exterior with undulating lines that form petals that radiate upwards towards the scalloped, everted rim, and the bowl is covered overall with a glaze of soft sea-green color. 10 ¼ in. (26 cm.) diam.
Property from the estate of C. Flippo Hicks, Gloucester, Virginia.
Notes: C. Flippo Hicks (1929-2015) was a world traveler as well as an avid collector of antiques, including nautical paintings and Chinese porcelain. Raised in Virginia, he lived there his entire life. He was a naval reservist, a lawyer, he ran for Attorney General, argued before the Supreme Court and was President of the Virginia State Bar. As a senior lobbyist for the Virginia Association of Counties, he was involved in such major legislation as integration, annexation, school funding and public kindergarten.
A similar Qianlong-marked bowl of comparable size was sold at Christie's Hong Kong, 1 June 2011, lot 3709.
Christie's. Fine Chinese Ceramics and Works of Art, 16 September 2016, New York, Rockefeller Plaza
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An unusual copper-red-glazed bowl, Qianlong six-character seal mark in underglaze and of the period (1736-1795)
Lot 1359. An unusual copper-red-glazed bowl, Qianlong six-character seal mark in underglaze and of the period (1736-1795). Estimate USD 4,000 - USD 6,000. Photo Christie's Image Ltd 2016.
The exterior is covered with a peachbloom-type glaze that thins to pale celadon in an area on one side below the rim, and the glaze on the interior and base has a faint blue-green tint. 7 ¾ in. (19.8 cm.) diam.
Property from the estate of C. Flippo Hicks, Gloucester, Virginia.
Notes: Compare the pair of bowls with deep rounded sides that are glazed in a similar manner that was sold at Christie's New York, 20-21 March 2014, lot 2192.
Christie's. Fine Chinese Ceramics and Works of Art, 16 September 2016, New York, Rockefeller Plaza
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