Lot 72. A Kubachi rimless pottery dish, probably Tabriz, North West Iran, 17th century; 12 7/8in. (32.8cm.) diam. Estimate GBP 3,000 - GBP 5,000 (USD 4,254 - USD 7,090). © Christie’s Images Limited 2018. 

On short straight foot, the white interior with floral pattern around a band of white split palmettes, alternating with flowerheads.

Note: The Caucasian city of Kubachi gave its name to a large group of pottery, the type of which was found decorating houses there. They have since been reattributed to Tabriz where they were produced in the 16th and early 17th century. The potteries at Tabriz were probably set up by craftsmen from Samarqand during the 15th century, lasted into the 16th century and only declined when the Safavid capital was moved to Qazvin and finally to Isfahan in 1598. In addition, the city was sacked by the Ottomans in 1514 and Tabriz continued to remain vulnerable to attacks, allowing other centres such as Kirman and Mashhad to establish pre-eminence.

Christie's. Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets, London, 26 April 2018

Lot 70. A Kubachi pottery dish, probably Tabriz, North West Iran, 17th century; 13 ½in. (34.4cm.) diam. Estimate GBP 3,000 - GBP 5,000 (USD 4,254 - USD 7,090). © Christie’s Images Limited 2018. 

Of typical form, the polychrome decoration comprising a wide floral spray, the cavetto and rim with stylised fruit and floral designs in lobed niches, repaired breaks.

Christie's. Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets, London, 26 April 2018

Lot 77. A Safavid moulded turquoise and manganese glazed jar, Iran, 17th century; 7 ¾in. (19.2cm.) high. Estimate GBP 12,000 - GBP 18,000 (USD 17,016 - USD 25,524). © Christie’s Images Limited 2018. 

With two flat arched sides rising from flat base, the cusped sides with elegantly moulded palmettes at the shoulder, the flat sides with moulded floral sprays on brown ground, repaired breaks.

Note: This bottle is one of a small, distinctive group of Safavid pottery. Although they were designed to imitate the Chinese Fahua techniques and glazes of the late 15th and early 16th centuries, the known examples are all of forms that follow typically Persian models. The group is characterised by moulded decoration which serves to keep apart rich opaque coloured glazes. As on our jar, ‘thin smears of ‘golden syrup’ glaze [are] commonly applied under the foot, whatever the colour of the rest of the vessel’ (Arthur Lane, Later Islamic Pottery, London, 1957, p.108). A bottle with a body very similar to ours is in the Victoria and Albert Museum (inv.no. 634-1889; published in Lane, 1957, pl.92A). Like ours, the body of the V bottle is a brilliant turquoise, with moulded palmettes at the shoulder and a cusped niche enclosing a floral spray on both of the flattened sides. Ours is clearly conceived as the jar it is now, but the close similarity between the two vessels may suggest that they were the product of the same workshop. 

Bottle, fritware, relief-moulded, turquoise glaze with details in cobalt, maroon and yellow; Iran, 1650-1725. Height: 30.5 cm conversion, Width: 16.5 cm, 634-1889, © Victoria and Albert Museum, London 2017.

 A covered bowl (tas) of the same type recently sold at Christie's London, 26 October 2017, lot 94.

Christie's. Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets, London, 26 April 2018

Lot 202. A Dutch or German pale green-tinted glass roemer, second half 17th century; 13.5cm., 5 1/4 in. high. Estimate 600 — 800 GBP. Courtesy Sotheby's 2018.

the broad shallow bowl on a hollow stem applied with three rows of four raspberry prunts, below an engrailed band, over a spun foot, high kick-in base.

Property from the Joseph M. Morpurgo Collection.

Note: A roemer of similar small size is published by Pieter C. Ritsema van Eck, op. cit., Vol. I, p. 143, no. 201.

Lot 203. A large Dutch or German green-tinted glass roemer, mid-17th century; 24.5cm., 9 5/8 in. high. Estimate 2,000 — 3,000 GBP. Courtesy Sotheby's 2018.

the broad shallow bowl on a hollow stem applied with four rows of five raspberry prunts, below an engrailed band, over a spun foot, high kick-in base,

Property from the Joseph M. Morpurgo Collection.

Lot 204. A large Dutch or German green-tinted glass roemer, mid-17th century; 28.5cm., 11 1/4 in. high. Estimate 2,000 — 3,000 GBP. Courtesy Sotheby's 2018.

the broad shallow bowl on a hollow stem applied with three rows of five raspberry prunts, below an engrailed band, over a spun foot, high kick-in base.

Property from the Joseph M. Morpurgo Collection.

Note: A roemer of this large size from the Otto Naumann collection was sold at Sotheby's New York, 25th January 2007, lot 138.

Pieter Claesz. (Berchem 1597/8 – 1660 Haarlem), Still life of a roemer, an earthenware jug, an overturned silver beaker, a ham and other objects arranged upon a draped table top, sold Sotheby’s London, 7th July 2011, lot 173.

Sotheby's. From Earth to Fire, London, 01 May 2018, 02:00 PM

Lot 201. A Dutch amethyst-tinted glass bottle, late 17th-early 18th century; 23cm., 9in. high. Estimate 7,000 — 1,000 GBP. Courtesy Sotheby's 2018.

of globe and shaft form, applied with eight vertical trails and a single ring collar on the tall neck, a small kick-up underneath the base, with metal-mount to rim and mounted-cork stopper.

Property from the Joseph M. Morpurgo Collection.

Note: A clear glass bottle of similar form is published by Pieter C. Ritsema van Eck, Glass in the Rijksmuseum, Zwolle, Vol. I, p. 189, no. 300, and for further examples applied with handles see, p. 191, nos. 303 and 304. An amethyst-tinted bottle of this form from the Wunsch foundation was sold at Christie's South Kensington, 30th October 2012, lot 185.

Lot 212. A pair of Dutch Delft doré bottle vases, by Pieter Adriaensz Kocx, early 18th century; 22.5cm., 8 7/8 in. high. Estimate 1,000 — 1,500 GBP. Courtesy Sotheby's 2018.

of octagonal form with flaring rim, painted in the Imari palette highlighted in gilding, with birds perching on fences among flowers, the shoulder with a lambrequin border, iron-red PAK marks for Pieter Adriaensz Kocx, owner of the De Grieksche A (The Greek A) factory, partially legible 'no 8', partially legible embossed marks 'WIII' and 'VIII' (?),

Property from the Joseph M. Morpurgo Collection.

Exhibited: PAN, Amsterdam, 1984.

Lot 215. A Dutch Delft doré large dish, by Pieter Adriaensz Kocx, early 18th century; 39.2cm., 15 3/4 in. diameter. Estimate 2,000 — 3,000 GBP. Courtesy Sotheby's 2018.

by Pieter Adriaensz Kocx, painted in the Imari palette with an Oriental woman and a boy in a fenced garden flanked by a large pagoda building and table supporting a vase of flowering plants, iron-red PAK mark for Pieter Adriaensz Kocx, owner of the De Grieksche A (The Greek A) factory,

Property from the Joseph M. Morpurgo Collection.

Exhibited: PAN, Amsterdam, 1963.

Lot 218. A Dutch 'Black Delft' small oval plaque, early 18th century; 19cm. x 21.3cm., 7 1/2 in. x 8 3/8 in. Estimate 800 — 1,200 GBP. Courtesy Sotheby's 2018.

painted with a Chinoiserie landscape of pagoda buildings lining the shore of a river, the foreground with a fisherman on a boat, within a raised frame moulded with four oval medallions encasing mythical beasts and flowers, reserved with scrolling foliage on a black ground, with integral pierced support for hanging.

Provenance: Collection Voûte, NR 64 (paper label), 
probably Mari Paul Voûte, Jr. (1882–1955), Baarn, The Netherlands, whose collection was sold at Frederik Muller & Cie., Amsterdam, 17th-25th April, 1956;
With Vandermeersch, Paris (paper label).

Literature: RELATED LITERATURE 
Robert D. Aronson, Delftware, Nijstad Collection, Amsterdam, 2017, pp. 54-55, no. 25.

Note: Black Delft is amongst the rarest of Delftware to survive, with approximately less than seventy pieces recorded. Aronson illustrates a close comparison of a plaque painted with Chinoiserie figures in an interior. The author notes four blue and white examples of the form bearing the LC mark of Lambertus Cleffius, owner of De Metaale Pot(The Metal Pot) factory, published by A. Vecht, Frederik van Frytom, 1632-1702, Life and Work of a Dutch Pottery-Decorator, Amsterdam, 1968, pp. 84-85, nos. 59-62.

Lot 214. A pair of Dutch Delft polychrome bottle vases, by Pieter Adriaensz Kocx, early 18th century; 22.8cm., 8 7/8 in. high. Estimate 1,000 — 1,500 GBP. Courtesy Sotheby's 2018.

of octagonal baluster form with a flaring rim, painted with birds perched within a large spray of flowers issuing from rock work, the shoulder with a lambrequin border, and flower sprigs to the neck, iron-red PAK marks for Pieter Adriaensz Kocx, owner of the De Grieksche A (The Greek A) factory, partially legible painted 'no 8', partially legible embossed marks 'WIII' and 'VIII' (?)

Property from the Joseph M. Morpurgo Collection.

Provenance: Perhaps the pair from the collection of Mari Paul Voûte, Jr. (1882–1955), Baarn, The Netherlands, sold at Frederik Muller & Cie., Amsterdam, 17th-25th April, 1956, no. 55.

Literature: J.F. Heijbroek & A.Th.P van Griensven, Kunst, kennis en kwaliteit, Zwolle, 2007, p. 124, illustrated in a photograph from 1965.

Note: A bottle vase of this form and decoration is illustrated by M.S. van Aaken-Fehmers, et al. Delfts Aardewerk, Geschiedenis van een nationaal product, Zwolle, 1999, p. 130, no. 37.

Lot 216. A Dutch Delft polychrome cartouche-shaped plaque, dated 1737 or 1757; 31.5cm. x 28.5cm., 12 3/8 in. x 11 1/8 in. Estimate 1,500 — 2,500 GBP. Courtesy Sotheby's 2018.

painted with a large bouquet of flowers in a vase, flanked by a pair of smaller flower vases supported by putti, joined by a garland of foliate scrolls and shells enriched with a profile portrait medallion, the moulded frame painted with flowering scrolls on a blue ground, pierced twice for hanging, the reverse with inscribed date mark in blue.

Property from the Joseph M. Morpurgo Collection.

Lot 226. A German silver-gilt gourd-shaped cup and cover, Hans Weienmayr, Augsburg, 1610-12, and later; 25.6cm., 10 1/8 in. high; 287gr., 9oz. 4dwt. Estimate 2,500 — 3,500 GBP. Courtesy Sotheby's 2018.

the body chased fruit bouquets within scrolling strap-work on a matted ground, the cover and foot similarly chased, the finial cast as Bacchus, later sheet-scroll work and girdled stem, later Austrian control marks. 

Lot 266. A German parcel-gilt silver standing cup and cover, anonymous master (Seling No. 1244), Augsburg, 1610-12; 31.1cm., 12 1/4 in. high; 407gr., 13oz. Estimate 12,000 — 18,000 GBP. Courtesy Sotheby's 2018.

Lot 282. A German parcel-gilt silver horse on stand with mounted rider, the rider and stand, maker's mark only GIS, circa 1650, the horse associated possibly earlier; 35.5cm., 14in. high; 923gr., 29oz. 22dwt. Estimate 12,000 — 18,000 GBP. Courtesy Sotheby's 2018.

Lot 287. A German silver-gilt double beaker, Tobias Hallaicher, Augsburg, 1685-87; 9cm., 3 1/2 in. high; 137gr., 4oz. 8dwt. Estimate 3,000 — 5,000 GBP. Courtesy Sotheby's 2018.

fitting together and detaching to form two beakers, embossed and chased with alternatively plain and matted spiral gadroons.

 Jakob Lena Knebl, Chesterfield, 2014 (detail), Courtesy of Jakob Lena Knebl - Pleated skirt, c. 1526 (detail), Kunsthistorisches Museum Wien, Hofjagd- and Rüstkammer - William Larkin, Portrait of Diana Cecil, later Countess of Oxford, c. 1614-1618 (detail), English Heritage, The Iveagh Bequest (Kenwood, London) © Kunsthaus Zürich 2018

ZURICH.- From 20 April to 15 July 2018, visitors to the Kunsthaus Zürich can look forward to ‘Fashion Drive. Extreme Clothing in the Visual Arts’. More than 230 works – including everything from slashed clothing and codpieces to haute couture and street wear – testify the many ways artists have viewed, commented on and shaped the world of fashion through the centuries. 

The exhibition spans art in multiple media from the Renaissance to the present day, with paintings, sculptures, installations, prints and watercolours, photographs, films, costumes and armour by some sixty artists. 

Pleated robe, c. 1526. Probably owned by Albrecht, Margrave of Brandenburg, Duke of Prussia. Naked iron, partially etched: with black color fillings, leather, Kunsthistorisches Museum Vienna, Hofjagd- and Rüstkammer © Kunsthaus Zürich 2018

ASTONISHING LOANS MAKING THEIR SWISS DEBUT 
Curators Cathérine Hug and Christoph Becker have secured the loan of some truly eye-catching exhibits, including a set of Austrian folded skirt armour from around 1526 that has never before been seen in Switzerland. Works by the English School are also leaving their homeland for the first time; others, like the painting by Robert Peake depicting the ‘Gentlewoman of the Privy Chamber to Queen Elizabeth I’ (around 1600) in a lavishly embroidered silk dress, have only recently emerged from private collections.  

Robert Peake and Workshop: Catherine Carey, Countess of Nottingham, circa 1597. Oil on canvas, 198.1 x 137.2 cm. Private collection, Courtesy of The White Gallery, London 

A BALANCED, CRITICAL VIEW 
The exhibition gives equal weight to male and female fashions, and includes a strong element of critique. Caricatures from the Lipperheidesche Kostümbibliothek costume library in Berlin take aim at the fashionistas and designers of the 19th century, while ‘high art’ comes under scrutiny too, as Jakob Lena Knebl (b. 1970) clothes sculptures by Maillol and Rodin that otherwise proudly display their nakedness. Artists and audiences know full well that there are two sides to fashion – or rather, the fashion business: inspiration, innovation and individual self-empowerment on the one, exclusion and profligacy on the other. The arrangement of works at the Kunsthaus reflects these subtle distinctions.  

Jakob Lena Knebl: Chesterfield, 2014. Digital printing, variable format. Courtesy of Jakob Lena Knebl 

RENAISSANCE AND BAROQUE 
The presentation opens with magnificent paintings from the 16th century. In the Renaissance, slashed clothing and codpieces were all the rage; indeed the appeal of ripped garments, which has its origins in that era, is still with us to this day. The subsequent Baroque period saw the ruff vie with the décolleté: in contemporary portraits of introvert and extrovert personalities they represent enlightenment and the rejection of constraints imposed by religion and social status. Monarchs such as Elizabeth I and Louis XIV were among the first rulers to achieve global status, and they systematically employed their wardrobe to project and consolidate their power. They were imitated throughout Europe, including Switzerland.  

Joos van Cleve: Suicide of the Lucretia, 1515-1518. Oil on oak, 47.7 x 35.3 cm, Kunsthaus Zürich, Ruzicka Foundation 1949 © Kunsthaus Zürich 2018

Hans Asper: Portrait of a man Wilhelm Frölich, Full-length portrait with coat of arms and coat of arms of the Frölich family, 1549. Oil and tempera on wood, 213 x 111 cm, Swiss National Museum, Zurich © Kunsthaus Zürich 2018

ROCOCO AND THE FRENCH REVOLUTION 
The section on Rococo to the French Revolution shows how fashion and design blend into a hedonistic lifestyle from which others are excluded. The phenomenon of artists inspiring fashion is already in evidence here: the idiosyncratic pleat of the gown at the back of the shoulder is named after the painter Antoine Watteau! These innovations and extremes are strikingly illustrated in the paintings of Marie-Antoinette, the female ‘Merveilleuses’ (‘Marvellous Ones’) and their male counterparts, the ‘Incroyables’ (‘Unbelievables’).  

Elisabeth Louise Vigée Lebrun: Marie-Antoinette en Chemise, 1783. Oil on canvas, 89.8 × 72 cm, Hessian House Foundation, Kronberg © Kunsthaus Zürich 2018

FIRST EMPIRE AND CONGRESS OF VIENNA 
The First Empire and the Congress of Vienna that ended it see a reversion to older values. Service uniforms appear alongside military in the art of the time. Influential salon ladies such as Juliette Récamier have their portraits painted, inspiring their circle not only to invest in new furniture but also to adopt a neoclassical appearance. Napoleon may have fallen, but Paris still dictates what is fashionable. At the same time, the exhibition sheds new light on the significance of the Congress of Vienna (1814–15) to Europe’s new order. For the first time, powerful rulers turn up accompanied by their wives. Negotiations are conducted, but even more energy is devoted to festivities, which require a wardrobe to match and create plentiful work for local producers. The forms and techniques of the tailor’s art are present in everything from depictions of martyrs to the poses of victors.  

Unknown artist: Départ des Amateurs de L'île St. Ouen, around 1805. Etching, hand-colored with watercolour, 21.2 x 26.2 cm, plate); 24.3 x 30.5 cm (sheet), Staatliche Museen zu Berlin - Kunstbibliothek © Kunsthaus Zürich 2018

PROGRESSION AND REGRESSION IN THE ERA OF INDUSTRIALIZATION 
Visitors with a keen eye for nuances can try to spot the details in academic painting that distinguish the gentleman from the dandy. While such male types are considered modern, remarkably, ladies of the era revert to wearing the crinoline. Artists respond with a mixture of perplexity and amusement, readily visible in the paintings of Édouard Manet, Félix Vallotton, Contessa di Castiglione and, today, John Baldessari in which representation tips over into caricature.  

Honoré Daumier: De l'utilité de la crinoline pour frauder l'octroi. From the benefit of the hoop skirt to cheat the customs. In: Le Charivari, 19.06.1857. Lithography, 26.7 x 20.8 cm, Kunsthaus Zürich © Kunsthaus Zürich 2018

Édouard Manet: Jeanne Duval, The Maîtresse de Baudelaire (La Dame à l'éventail), 1862. Oil on canvas, 113 x 90 cm, Museum of Fine Arts, Budapest © Kunsthaus Zürich 2018

John Baldessari: Double Bill: ... And Manet, 2012. Painted inkjet printing on canvas with acrylic and oil paint, 152.4 x 152.4 cm. Courtesy of the artist and Marian Goodman Gallery, New York © John Baldessari 

FASHION SETS STANDARDS 
Consequently, the liberation of the body at the start of the 20th century does not come as a surprise. Fashion is opened up to a wider audience as it becomes affordable and is sold in department stores. Progressive artists such as Gustav Klimt and Emilie Flöge, Henry van de Velde and the Futurists Giacomo Balla and Filippo Marinetti all design clothes. Just as they tried to do with language, the Dadaists redefine the purpose of clothing. Man Ray and Erwin Blumenfeld narrow the gap between art photography and fashion photography, and Russian and French avant-gardists Natalia Goncharova and Sonia Delaunay respond with designs of their own. Ornament becomes fashionable and is woven or printed into both Art Nouveau imagery and clothing. Now the initially idealistic marriage of art and fashion has taken on a commercial dimension. Fashion designers and Pop Artists are linked by the cult of personality: both employ icons and use strident, bold symbols and slogans, as the works of James Rosenquist, Andy Warhol and Franz Gertsch testify. Youth cultures and subcultures become as inspirational for artists as they are for fashion designers. Fashion is now very much a material for artists. 

Giovanni Boldini: Le Comte Robert de Montesquiou (1855-1921), 1897. Oil on canvas, 116 x 82.5 cm, Musée d'Orsay, Paris. Photo © RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski

Giacomo Balla: Bozetto by vestito da uomo, 1914. Watercolor on paper, 29 x 21 cm, Fondazione Biagiotti Cigna, © 2018 ProLitteris, Zurich 

BEYOND FASHION. A NEW REFLECTIVENESS 
From haute couture via prêt-à-porter to fast fashion: the final section of the exhibition spans the arc to sustainability and post-human visions. Artificiality, the (de)construction of the body and a critique of the cult of brands are the hallmarks of 21st-century artistic production. Since Michelangelo Pistoletto, a young generation has been using installations, performances and videos to argue the case for ethically, ecologically and politically sustainable behaviour.  

Michelangelo Pistoletto: Metamorfosi, 1976-2017. Mirrors, Rags. Installation view Abu Dhabi Art Fair, 2013, Galleria Continua, © Michelangelo Pistoletto 

THE POINT OF IT ALL: FASHION AND WHAT IT MEANS 
In this exhibition, the Kunsthaus Zürich sets out to synthesize and invite reflection on several centuries of art, fashion and social history and transform them into a sensual experience. Works from past eras are presented in surprisingly fresh ways, enabling visitors to rediscover their original meaning in a present-day context. Organized as part of the Festspiele Zürich, this attractive, humorous and instructive show is spread over 1000m2 and is accompanied by a publication and events. A catwalk full of potholes!  

May-Thu Perret: Flow My Tears I, 2011. Mannequin with glass head, copy of Elsa Schiaparelli's skeleton dress after a design by Salvador Dalí, 1938, made by Naoyuki Yoneto, 175 x 70 x 70 cm. Courtesy of the artist and gallery Francesca Pia, Zurich © Mai-Thu Perret 

Sylvie Fleury: Mondrian Dress Rack, 1993/2016 (detail), 3 Mondrian dresses, 1 coat rack, 3 hangers, mass variable. Courtesy Karma International, Zurich and Los Angeles © Sylvie Fleury

Sylvie Fleury: Untitled, 2016 (Valentino pattern green). Acrylic on canvas, 125 x 125 x 10 cm, Karma International Zurich, Los Angeles and Mehdi Chouakri Berlin © Sylvie Fleury

ARTISTS FROM 1500 TO THE PRESENT DAY 
With works by around sixty artists – some familiar, some previously undiscovered – the exhibition is a logistical tour de force. It includes pieces by Hans Asper, Charles Atlas & Leigh Bowery, Hugo Ball, Giacomo Balla, John Baldessari, Joseph Beuys, Erwin Blumenfeld, Giovanni Boldini, Pierre Bonnard, Elisabeth Louise Vigée-Lebrun, Daniele Buetti, Paul Camenisch, Contessa di Castiglione & Pierre-Louis Pierson, Joos van Cleve, Isaac George Cruikshank, Salvador Dalí, Honoré Daumier, Albrecht Dürer, Nik Emch, Esther Eppstein, Max Ernst, Hans-Peter Feldmann, Sylvie Fleury, Emilie Flöge & Gustav Klimt, Heinrich Füssli, Johann Caspar Füssli, Franz Gertsch, James Gillray, Natalia Goncharova, Jacques Grasset de Saint-Sauveur, Johann Nikolaus Grooth, George Grosz, Richard Hamilton, David Herrliberger, Hannah Höch, Johann Nepomuk Höchle, Beat Huber, Jean Baptiste Isabey, Tobias Kaspar, Carl Joseph Keiser, Franz Krüger, William Larkin, Tamara de Lempicka, Les Frères Lumière & Loïe Fuller, Nicolas Lejeune, K8 Hardy, Jakob Lena Knebl, Herlinde Koelbl, Jirí Kovanda & Eva Kotátková, Inez van Lamsweerde & Vinoodh Matadin, Claude Lefèbvre, Robert Lefèvre, Peter Lindbergh, Nicolaes Maes, Édouard Manet, Manon, Malcom McLaren & Vivienne Westwood, Conrad Meyer, Dietrich Theodor Meyer the Elder, Anna Muthesius, Meret Oppenheim, Robert Peake, Mai-Thu Perret, Suzanne Perrottet & Johann Adam Meisenbach, Michelangelo Pistoletto, Charles Ray, Man Ray, Hyacinthe Rigaud, James Rosenquist, Tula Roy & Christoph Wirsing, Ashley Hans Scheirl, Michael E. Smith, Karl Stauffer-Bern, Elsa Schiaparelli, Wolfgang Tillmans, James Tissot, Félix Vallotton, Carle Vernet, Madeleine Vionnet, Édouard Vuillard, Andy Warhol, Jan Weenix, Mary Wigman, Charles Frederick Worth, Erwin Wurm, Andreas Züst. Loans come from public and private collections in Europe and from New York.

Max Ernst: Au dessus des nuages ​​marche la minuit. Au dessus de la minuit plan l'oiseau invisible du jour. Un peu plus haut que l'oiseau l'éther pousse et les toits toits flottent, 1920. Photographic enlargement after the photomontage of the same name, 53 x 55 cm, Kunsthaus Zürich, © 2018 ProLitteris, Zurich 

Tamara de Lempicka: Kizette en rose, 1927, oil on canvas, 116 x 73 x 1.3 cm, Nantes, art museum , agate à l'artiste, 1928. Photo © RMN-Grand Palais / Gérard Blot © Tamara Art Heritage / 2018 ProLitteris, Zurich.

Steve Schapiro: Portrait of James Rosenquist, Dressed in a Paper Suit, New York, 1966. Black and White Photography. Courtesy James Rosenquist Studio, Steve Schapiro, © Steve Schapiro

Peter Lindbergh: Linda Evangelista, Christy Turlington & Naomi Campbell, Brooklyn, 1990 Exhibition print, Hahnemuhle. Photo Rag® Baryta 315 gr, 60 x 50 cm. Courtesy of Peter Lindbergh, Paris, © Peter Lindbergh

Wolfgang Tillmans: Christos, 1992. From the Installation Im Kunstlicht, 1997. Color Photography, 60.8 x 50.7 cm, Kunsthaus Zürich © Wolfgang Tillmans 

MUNICH.- The gallery IMMAGIS in Munich opened the solo exhibition HUSH HUSH by renowned photographer and director Olaf Heine. Some of Heine’s personally favorite portraits of musicians and celebrities are on display, as well as a selection from his BRAZIL cycle, which was published as a book by teNeues in 2014. Since the late-1990s Heine has risen to become one of the most sought-after portrait photographers. Working primarily in black and white, he is known for his quiet images full of power and intensity. 

From Coldplay and U2 to Rammstein and Radiohead, from Sting to Sportfreunde Stiller, Heine not only shoots countless photographs of prominent musicians, but also plays a key role in determining how they are seen around the world on LP and CD covers, tour posters, and in high-profile music videos. 

Heine has also worked with top international athletes, writers, and Hollywood actors. Now for the first time in Munich, visitors can see his portraits of stars such as Oscar prize winner Jared Leto, Don Cheadle, Herbert Grönemeyer, Bret Easton Ellis, Snoop Dog, Bono, Anna Loos, and Thomas Kretschmann, in addition to portraits of athletes such as Philipp Lahm and Dirk Nowitzki, to name a few. 

Olaf Heine, Iggy Pop, Miami, 2001. 35 x 35 cm., 13.78 x 13.78 in. Edition of 15.

Olaf Heine, Herbert Grönemeyer, Berlin, 2003. 35 x 35 cm., 13.78 x 13.78 in. Edition of 15.

Olaf Heine, Girl descending a ramp, Brasilia, 2012. 60 x 40 cm., 23.62 x 15.75 in. Edition of 7.

Olaf Heine, Don Cheadle, Los Angeles, 2005. 60 x 40 cm., 23.62 x 15.75 in. Edition of 7.

Olaf Heine, Dirk Nowitzki, Würzburg, 2004. 35 x 35 cm., 13.78 x 13.78 in. Edition of 15.

Olaf Heine, Coldplay, Plate 2, London, 2003. 35 x 35 cm., 13.78 x 13.78 in. Edition of 15.

Olaf Heine, Christ the Redeemer, Rio de Janeiro, 2013. 60 x 40 cm., 23.62 x 15.75 in. Edition of 7.

Olaf Heine, Yasmin, Rio de Janeiro, 2013. 60 x 40 cm., 23.62 x 15.75 in. Edition of 7.

Olaf Heine, Jessica Schwarz, Berlin, 2007. 35 x 35 cm., 13.78 x 13.78 in. Edition of 15.

Olaf Heine, Bret Easton Ellis, New York, 2005. 35 x 35 cm., 13.78 x 13.78 in. Edition of 15.

Olaf Heine, Anna Loos, Berlin, 2009. 35 x 35 cm., 13.78 x 13.78 in. Edition of 15.

Olaf Heine, Michael Mittermeier, Berlin, 2016. 35 x 35 cm., 13.78 x 13.78 in. Edition of 15.

Olaf Heine, Paddle Out, Recreio dos Bandeirantes, 2013. 60 x 40 cm., 23.62 x 15.75 in. Edition of 7.

Olaf Heine, Philipp Lahm, München, 2010. 60 x 40 cm., 23.62 x 15.75 in. Edition of 9.

Olaf Heine, Snoop Dogg, Los Angeles, 2003. 35 x 35 cm., 13.78 x 13.78 in. Edition of 15.

Olaf Heine, Taynara, Rio de Janeiro, 2013. 60 x 40 cm., 23.62 x 15.75 in. Edition of 7.

Olaf Heine, Thomas Kretschmann, Berlin, 2008. 60 x 40 cm., 23.62 x 15.75 in. Edition of 7.

Olaf Heine, Cameron Richardson, Los Angeles, 2003. 35 x 35 cm., 13.78 x 13.78 in. Edition of 15.

Olaf Heine, Chris Cornell and Cat, Los Angeles, 1999. 35 x 35 cm., 13.78 x 13.78 in. Edition of 15.

Lot 273. A rare and large 'Yaozhou' tripod censer, Northern Song dynasty (960-1127); 23cm., 9in. Estimate 20,000 — 30,000. Lot sold 26,900 GBP. Courtesy Sotheby's 2007.

the compressed globular body freely carved with a broad band of leafy scrolling lotus between two raised filets, the broad neck carved with two key-fret bands below the broad square-section everted rim, all supported on three lion-paw feet issuing from lion masks, covered overall with a glossy olive-green glaze pooling to a darker tone around the carving to emphasise the design, the unglazed interior pierced to allow air to escape from the legs in the firing.

Exhibited: Song Ceramics, Southeast Asian Ceramic Society, Singapore, 1983, cat. no. 16.

Lot 71. A 'Yaozhou' tripod censer, Song dynasty (960-1279); 18 cm, 7 1/8  in. Estimate 60,000 — 80,000 GBP. Courtesy Sotheby's 2018.

the compressed spherical body rising to a waisted neck and below the broad square-section everted rim, all supported on three lion-paw feet issuing from lion masks, covered overall with a glossy olive-green crackled glaze, pooling to a darker tone at the recessed areas at the shoulder and rim.

Lot 70. A fine and rare 'Yaozhou' pear-shaped vase, Jin dynasty (1115-1234); 28.8 cm, 11 1/2  in. Estimate 60,000 — 80,000 GBP. Courtesy Sotheby's 2018.

of elegant pear-shaped form with a long waisted neck elegantly flaring to a broad mouth, supported on a short foot, covered all over in a warm celadon glaze suffused with an attractive crackle, the glaze wiped to a brownish-green at the base and foot.

Provenance: Sotheby's London, 12th November, 2003, lot 40.
Tsui Museum of Art, Hong Kong. 

Exhibited: Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 92.

Lot 4. A very rare polychrome painted 'Cizhou' bowl with fish, Jin dynasty, 12th-13th century; 17.6cm., 6 7/8 in. Estimate 30,000 — 40,000. Lot Sold 49,250GBP. Photo Sotheby's 2011

with softly rounded sides and a low splayed foot, covered with a rich layer of white slip and a glossy transparent glaze, the interior freely painted with a carp in bright iron-red enamel in front of a lotus flower with red bloom and green leaf and further green water weeds, surrounded by red and green bands, the red accentuated by yellow dots, the green enamel partly iridescent, the exterior plain white with glaze and slip stopping well above the foot, revealing the buff stoneware body, the centre inside showing a ring of five spur marks, similarly repeated on the foot, in Japanese purple silk pouch (shifuku) with matching silk cushion and four corner posts, in ribbon-tied paulownia-wood box and cover, ribbon-tied black-lacquered outer box and cover, and double brown cotton furoshiki with inscribed wooden tag.

Provenance: Collection of Eugene Bernat.
Sotheby's New York, 7th November 1980, lot 125.

Exhibited: Chinese Ceramics of the Sung Dynasty, Currier Gallery of Art, Manchester, New Hampshire, 1959,  cat. no. 98.

Chinese Art, Smith College Museum, Northampton, Massachusetts, 1962,  cat. no. 136.

Worcester Art Museum, Worcester, Massachusetts (on loan).

Chūgoku tōji. Bi wo miru kokoro /Chinese ceramics, Enlightening through Beauty, Sen-Oku Hakuko Kan, Kyoto, 2006, cat. no. 28.

Literature: Jan Wirgin, 'Sung Ceramic Designs', Bulletin of the Museum of Far Eastern Antiquities, no. 42, Stockholm, 1970, pl. 56 g.

Note: The present bowl is outstanding in its delightful, freely painted nature scene and its intense, well-preserved colours – a combination that is extremely rare among polychrome 'Cizhou' wares. Various 'Cizhou' kilns particularly in Henan province began in the late Northern Song or Jin dynasty to decorate their transparent-glazed, white-slipped stonewares in red, green and yellow enamels. Such colourfully painted vessels represent China's first polychrome painted ceramics. Since the enamels are applied over the glaze, they tend to wear off with use; companion pieces of similar quality are therefore hard to find.

A bowl with a similar fish among water plants but on a green ground, also surrounded by a red border with yellow dots, is illustrated in Wang Ye, 'Henan zhongbu yibei faxian de zaoqi youshang duose caihui taoci [Early ceramics with overglaze polychrome painting from the middle to northern region of Henan], Wenwu, 2006, no. 2, p. 69, pl. 54. Two related fish-decorated bowls are also illustrated in Jingcai. Jin Yuan hong lu cai ciqi zhong de shenqi yu shixiang/Splendid. The Deities and Secular World in Polychrome Overglaze Decoration Ceramics of Kin and Yuan Dynasties, Beijing, 2009, pls 196 and 197, the former coarser overall and with the fish on a green ground, the latter similar in design but larger and less finely painted.

Lot 964. A small green-glazed pottery jar, China, Han dynasty (206 BC-AD 220); 5 in. (12.8 cm.) high. Estimate USD 1,000 - USD 1,500. © Christie's Images Ltd 2018

The bulbous body encircled by a grooved band with pendent triangle border, with a further grooved band encircling the shoulder below the waisted neck and the dished mouth, the exterior covered with a streaked glaze of deep green tone.

Provenance: Mathias Komor, New York. 
Gift of Peter Weil, 25 December 1948.

Literature: R. Ellsworth et al., The David and Peggy Rockefeller Collection: Arts of Asia and Neighboring Cultures, New York, 1993, vol III, p. 74, no. 31.

Christie's. The Collection of Peggy and David Rockefeller: Travel and Americana, New York, 10 May 2018

Lot 965. A sancai-glazed pottery jar, China, Tang dynasty (AD 618-907); 10 ½ in. (26.7 cm.) high. Estimate USD 8,000 - USD 12,000. © Christie's Images Ltd 2018

The wide ovoid body liberally splashed with bright amber, cream and green glazes that covers the short neck and continue over the out-turned rim, all on a white slip that falls irregularly towards the flat base exposing the pale pinkish-buff body.

Provenance: Yamanaka & Co., Bar Harbor, 1929. 
Mrs. Abby Aldrich Rockefeller, New York, 1929-1948. 
Estate of Abby Aldrich Rockefeller (with a lifetime interest to John D. Rockefeller, Jr.), 1948-1960. 
Winthrop Rockefeller, Petit John Mountain, Arkansas, 1960-1973. 
Estate of Winthrop Rockefeller, 1973-1974. 
Acquired in August 1974.

Literature: R. Ellsworth et al., The David and Peggy Rockefeller Collection: Arts of Asia and Neighboring Cultures, New York, 1993, vol III, p. 80, no. 36.

Christie's. The Collection of Peggy and David Rockefeller: Travel and Americana, New York, 10 May 2018