Archive for the ‘Fashion’ Category

All Categories | The Blog Will Return Next Week

Friday, August 22nd, 2014

Untitled #1, Norfolk, UK

Untitled #2, Norfolk, UK

Untitled #3, Norfolk, UK

Photographs by Pedro Silmon, 2014




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All Categories | The Blog Team is on Holiday

Friday, August 1st, 2014

Kielder Water from below the Kielder Observatory, Northumberland, UK

Kielder Observatory, by Charles Barclay Architects, completed 2008

Photographs by Pedro Silmon, 2014




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Fashion | Supermodel Portraits

Friday, July 4th, 2014

© Dominique Issermann, Kate Moss, Paris, 2004





Supermodels – Then and Now
CWC Gallery
Berlin | Germany
Until 6th September





On the Storm modelling agency’s website, British model Kate Moss’s simple description, height: 5ft 8in / 173cm, bust: 34B, waist: 26 in / 66.04 cm, hips: 35.5in / 90.17 cm, shoes: UK 6.5 / EUR 39.5, hair: blonde light, length: mid-length, eyes: hazel, belies the fact that this week a David Bailey portrait of the supermodel sold for £80,000 at a charity auction in London. Although, aged 16, she had begun modelling for The Face four years before, Moss was barely known when the cult of the supermodel was established in 1990, when Linda Evangelista infamously told US Vogue, ‘We have this expression, Christy (Turlington) and I, ‘We don’t wake up for less than $10,000 a day.’ When Evangelista later quipped to People magazine ‘We don’t vogue, we are Vogue,’ it was pretty much the truth.





© Albert Watson, Christy Turlington, Egypt

© Bruno Bisang, Claudia Schiffer, Paris, 1997





One of the most accomplished models of all time, Evangelista remains the most featured model on the covers of Italian Vogue, was the muse of photographer Steven Meisel and of fashion designers Gianni Versace and Karl Lagerfeld. Strange then that among the generous selection of 24 press images available for Supermodels – Then and Now at Berlin’s CWC Gallery, there is not a single picture of her, an oversight which explains her absence here. Evangelista, however – who, as well as her work with Meisel, has been photographed by Richard Avedon, Gilles Bensimon, Gian Paolo Barbieri, Patrick Demarchelier, Arthur Elgort, Nick Knight, Sante D’Orazio, Norman Parkinson, Irving Penn, Herb Ritts, Paolo Roversi, Francesco Scavullo, Bruce Weber, and Ellen von Unwerth, to name but a few, many of whose images appear in this exhibition – is certainly present in the show itself.





© Brian Duffy, Jean Shrimpton





In the 1980s and early 1990s, Canadian Evangelista, together with Brit Naomi Campbell and American Christy Turlington comprised a triumvirate that was dubbed The Trinity. The trio, augumented by another American Cindy Crawford, with German model Tatjana Patitz, were photographed together by Peter Lindbergh for the cover of the January 1990 issue of British Vogue, and thereafter became known as The Supermodels. There had been big name models before, of course, pictures of whom contribute to the story behind the exhibition – Jean Shrimpton, Penelope Tree, Veruschka, Marie Helvin, Jerry Hall – but while their names may have added a certain cachet to the designers’ clothes they were photographed in, often by great photographers, only Hall crossed over successfully into runway modelling.  Nor did they – aside from perhaps, some years later, Twiggy, and again Hall, both via acting – become world famous personalities in their own right. The names of The Supermodels became as big as those of the biggest movie stars and they were just as big a target for the paparazzi and the gossip columns. Other would-be supermodels followed hot on the heels of the originals, but only Elle Macpherson and Claudia Schiffer achieved a similar level of fame and success.





© Albert Watson, Naomi Campbell, Palm Springs, 1989

© Herb Ritts, Laetitia Casta 2 (for Pirelli Calendar), Malibu, 1998





Paradoxically, Kate Moss, if anything an anti-supermodel at the start of her career, rose metiorically, reaching undreamed of heights in supermodeldom. Gracing 17 W covers, she was named as the magazine’s muse in 2003. She has been the model of choice for more than 30 covers (and counting) of British Vogue, and has modelled major advertising campaigns for almost every high end fashion house in the world. During the past 25 years she has been photographed by every great fashion photographer worth his salt. She has designed clothes for high street brand Topshop – her 2014 collection for the brand, inspired by her own wardrobe will be sold in 40 countries – and handbags for Longchamp, has fragrances named after her, and been the subject of sculpture by Marc Quinn. A model for the mutability of the supermodel, through portraits and nudes by Patrick Demarchelier, Dominique Issermann, Paolo Roversi, Ellen von Unwerth, and Albert Watson, Moss is given a special focus in the CWC exhibition.

Photographs courtesy the photographers and CWC Gallery



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Auction | Photography versus Deforestation

Friday, March 21st, 2014

Sebastiao Salgado
Mentawai people on
Siberut Island,
Indonesia, 2008
Estimate €11,500 > 13,500



Objectif Arbres
Sotheby’s
Paris | France
Exhibition 28th March > 31st March 2014
Charity sale 31st March 2014
Supporting the Anne Fontaine Foundation

Objectif Arbres, the French title of this travelling exhibition that began its journey in New York, in April last year, and ends it in Paris on March 31st, sounds far more romantic than the English one, Trees in Focus. But the beautiful examples of photography on show are there to make a serious point, and the proceeds of this sale will go towards a very good cause.

Almudena Caso
Arbolitos x seis, #12, 2006
Assembly under Plexiglas
Estimate €3,000 > 3,300

Laurent Elie Badessi
The tree of love, Brooklyn, 2014
Chromogenic print

Estimate €2,000 > 2,500

Sarah Moon
L’ombre du palmier, 2010
Estimate €6,000 > 7,000


Thirty-five internationally-renowned photographers each with their own personal approach, and representing diverse areas of the art – from reportage photographers Sebastião Salgado and Martine Franck, to Sarah Moon, Pamela Hanson and Antoine Verglas, who shoot fashion and beauty – have each donated photographs on the theme of trees, which will be put on show at Sotheby’s, Paris, and afterwards be auctioned in aid of the Anne Fontaine Foundation. New York-based French-Brazilian designer Fontaine, founder of the massively successful Anne Fontaine online clothing company, set up the non-profitmaking foundation in 2011 to raise awareness of the rapid deforestation taking place in many parts of the world, especially in the Amazon basin.

Steve Miller
Jungle, 2008
Collage on aluminium
Estimate €2,500 > 3,000


The aim of the exhibition is to confront the visitor with the relationship between humans and nature. Fontaine has also persuaded high-quality publishing house Assouline to publish the images in a book – for every book sold, ten trees will be planted, which must be a pretty good deal. Deforestation is an ugly business, and unless it can be halted and put into reverse with the help of organisations such as hers, it may become impossible to take such beautiful and poignant photographs in the future.

All Photos © the photographers, and Art Digital Studio / Sotheby’s


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Books | London Youth 1978-1987

Friday, February 21st, 2014

Boy George, Le Beat Route 1981


78–87
London Youth – Derek Ridgers

Photographs by Derek Ridgers
Introductory text by John Maybury
Published by Damiani / February 2014
21.5 x 31.5 cm / 160 pp / hardback

Steve and friend, left, and Matin, right, Bowie Night at Billy’s 1978


Eye-witness and participating member of London’s edgy youth culture scene during the unique period this book documents, video artist and film director John Maybury’s introductory text is so sharp and well-written that all we’re going to do is select a few short edited passages from it and allow Derek Ridgers formidable images, as they appear in this beautifully-produced book, do the rest.

Charlotte at the Dayglo Ball, Heaven 1984. Right, Paul, Kings Road 1984


John Maybury: Curiously the London represented in these images might be recognisable to a twenty-year-old today – a recession coming after an extended period of boom and bust, but there the similarities end. Post swinging London, the euphoria dissolved into a grey reality, with a political and media class confused by the rallying cry of the Sex Pistol’s [sic] No Future – but there was…

At Feltham Rugby Club 1981. Right, Mark, Leicester Square, 1981


JM: Against the depressing backdrop of a grey London demoralised by IRA bombs, riots in Brixton, Toxteth and at the Notting Hill Carnival, the miners’ strike and general civil unrest, going clubbing offered an escape…  The Roxy and Louise’s begat the Vortex, Bowie Night at Billy’s, Le Beat Route, the Blitz, Le Kilt, the Batcave, Hell, White Trash, Legends, the People’s Palace, and Taboo, where events would take place mid-week. To walk into one of them was to enter a kaleidoscope world of like-minded hedonists.

Martin and Steve, Kings Road 1981. Right, Chelsea, 1980


JM: Suddenly ordinary kids were adopting styles and attitudes that threw their parents into tailspin. Before long the streets of Soho, Camden Lock, the Kings Road and Kensington High Street were crawling with ‘these children that you spit on as they try to change their worlds’.

Charlotte and Jeffrey at the Alternative Miss World, Earls Court 1981


JM: Sex (that became Seditionaries and mutated into Worlds End, Boy and PX, the stalls at Beaufort market and Kensington market, provided street-style catwalks. Punk was about watching bands. Now we were watching each other.

Southend Seafront on Bank Holiday, 1979


JM: Notorious camera whores like Boy George, Marilyn or Steve Strange not only deserved to be photographed but expected it. Being photographed served as an affirmation that your particular ‘look’ set you apart as somebody… In 78–87 London Youth, Derek Ridgers makes each and every one a hero or heroine of their own drama with one click.


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Design | Vintage 2013

Friday, November 8th, 2013

Vintage – Design with a History
Museum für Gestaltung
Zürich, Switzerland
13th November, 2013 – 6th April, 2014

East London, the area formerly known as East Berlin, and New York’s Lower East Side, have far more in common than their location in the eastern precincts of capital cities. Undoubtedly there are areas, north, south, east and west, in other major cities around the globe that, having been neglected and run down for a variety of reasons, are experiencing similar processes of regeneration, in which to a large extent rather than buildings having been demolished and new ones erected, a variety of former commercial warehouses and industrial workshops have been converted into apartments, offices, cafés, bars and shops. These three, however, currently exert the greatest influence at an international level, on fashion and lifestyle trends. Each boasts distinctive 21st century buildings, but down at street level, at times, and in certain locations within each, it’s difficult to separate one from another, especially since an overriding taste for vintage predominates in all.

In 1966, the US Customs Department legalised the definition of ‘antique’ as referring to art, buildings, furniture, accessories or personal possessions that are over 100 years old. Borrowed from wine-making, the meaning of the term ‘vintage’, was adapted and used to denote items in the same categories that were newer than 100 years old.

Over the coarse of the past couple of decades, these precepts themselves have become old fashioned. Currently, it would seem, anything older than last week can qualify as vintage and the description is taken to stand for the increase in value of any manufactured object that is a result of aging, selection or shortage – even when their patina is artificially created. Vintage, properly used, however, stands for a whole look – rather than any single item – and to achieve it requires a confident but relaxed attitude to the mixing of 20th and 21st century styles from a variety of periods.

Those who live in vintage-styled homes, or dress in vintage outfits, or do both – which is common – would much rather, sort her or his way through tightly-packed clothes racks at places such as Berlin’s Mauerpark Flohmarkt (Flea Market), than buy a new item of clothing, or an accessory, in a conventional shop. They might collect original or re-issued vinyl records, but at the same time live very much in the moment and are certain to own or desire the latest smartphone or tablet. They know their way around every aspect of the internet, too. They’ll tweet, text, chat, Skype, bank online and be guided to anywhere they need to go on their cranky old upright bikes by GPS.

It’s not surprising, when items falling into either category are displayed together, that the descriptions ‘vintage’ and ‘retro’ are often mistakenly taken by consumers to mean the same thing. Although there is a clear distinction, the confusion can at times be intended by the dealer, who may try to pass off new articles with fake patina or retro styling that apes much earlier genuine designs, as genuine vintage items. But, it must be said that often customers with little knowledge of design history don’t understand or appreciate the difference, or even care. Some prominent manufacturers, on the other hand, hoping to cash in on growing worldwide interest in vintage, have launched new products with bang up to date features that boast retro styling. Nikon, for instance, have just brought out the Df, a lightwight full-frame digital SLR camera, retailing at a whopping £1,865.76 (€2,215.62 / $2,999.95), which ‘pays homage to analogue camera styling’. With mechanical dials taken from the company’s famous ‘F’ series (1959) of 35mm film cameras – originals can easily be found in second-hand camera shops, on market stalls, and on eBay. The Df comes with an optional wireless mobile adapter, and the camera can be fired remotely by syncing it to a smartphone or tablet. Retro styled cars have been around since the late 1990s – the Prowler, launched in 1997, with exposed front wheels, was American manufacturer Plymouth’s take on a modern hot rod and arguably spearheaded the trend. In 2007, fifty years after it was first launched, the Fiat 500 was rebuilt, redesigned and relaunched, with many of its original features intact. But perhaps the Porsche Citroen 911 DS Franken-Sportscar by American design group Brandpowder, combining elements of two of the most renowned vehicles ever produced – albeit as a Photoshopped image – is the only one of these cars that merits the description ‘vintage’.

Vintage – Design with a History, the forthcoming exhibition at Zürich’s Museum für Gestaltung, will take a look at the special qualities inherent to original pieces from the world of fashion, furniture and product design, with the objective of throwing light on the current yearning for items from the relatively recent past and aims to explore commercial responses to the demand. In this regard, Belgian fashion designer Martin Margiela is considered by the curators to be an important figure. Various pieces, spanning the range of his reinterpreted second-hand textiles from the early 1990s to designs that deal conceptually with fashion’s expiry date appear throughout the themed sections of the exhibition.

Images from top
Martin Margiela top, 1989–2001
Boutique Roma
Photo Betty Fleck © ZHdK

Levi’s denim jacket, 1960s, USA
Showing natural signs of wear, in the exhibition this
denim jacket is contrasted with items of clothing which, on leaving
the factory, show artificially produced traces of use

Jeansmuseum Ruedi Karrer
Photo Betty Fleck ©ZHdK

Marcel Breuer, Metal Band Chair, model 1082, 1935
Found by its present owner in a chicken coop,
this chair is the most expensive object on show

©Embru-Werke

Arrangement of vintage pieces, Möbel Zürich, 2012
Photo Regula Bearth ©ZHdK


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All Categories | The Blog is on Holiday

Friday, September 6th, 2013

This Way, 2012, Pedro Silmon

Our Mapplethorpe Curated by Huppert blog post was published early this week

Watch out for our next post on, or around, September 27th

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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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Photography | Reutersward: Nudes & Landscapes

Friday, August 16th, 2013

Blaise Reutersward: Aktstudien und Deutsche Landschaften
(Nude studies and German Landscape)
Camera Work
Berlin, Germany
24th August – October 12th, 2013

Following in the wake of then deputy fashion director Kerstin Schneider, photographer Blaise Reutersward’s unruly shock of blond hair seemed to arrive in my office at German Elle in Munich, a millisecond before he did. It was the late 1990s and and most of the female staff were dressed head-to-toe in black (Tom Ford) Gucci or maybe Jil Sander, the younger ones in less expensive Strenesse, the editor, Renata Rosenthal in Issey Miyake – sometimes with scarily-weird green contact lenses. On the surface, Blaise, tanned, in bright blue and white checked shirt and jeans – I’m not sure what he wore on his feet, probably Converse – was a breath of fresh air, much like his photography, the naturalness of which cut a swathe through the rather stilted, heavily stylised stuff that was coming out of Paris and New York at the time. Reutersward’s models didn’t pose, they moved about under blue skies with puffy, whispy white clouds in them, wearing the clothes with ease, their hair catching the breeze. But, Reutersward himself, unsmiling, hiding beneath his hair, avoiding eye-contact, ostensibly coming in to discuss layout ideas for his photographs was deeply serious about his work and knew exactly how he wanted it to be presented.

Born in 1961, in Stockholm, Sweden, where he still lives and is based, in the one picture (2010) of him that resulted from an internet search, only sea and sky fill the background, although the tan remains, replaced by a stubble crop the long blond hair is gone, and he sports a black T-shirt – maybe a sop to fashion, or perhaps signifying the broody, mysterious side to the photographer that I had been aware of at our single meeting and which would later be revealed via his personal work.

Unable to compete with German Vogue for the best photographers, German Elle was and probably remains the poor relation, but, certainly during the period I was the magazine’s art director (1996-1999) – many of the photographers coming in via the fashion department, who were extremely picky about who they would work with – it provided a testing ground for talented new, not necessarily young – Blaise would have been around 35 years old at the time – photographers, keen for a chance to get published. Reutersward was one of those who impressed German Vogue and soon found himself regularly shooting for them, and throughout the past 15 or so years, for French Vogue as well as those in Japan and China. He may not have achieved the success or fame of giant of Swedish fashion photography, Mikael Jansson, but he has stuck to his guns, consistently producing sensitive, timeless images of female fashion and beauty, most often in a natural setting with a minimum of artificial lighting.

Typically understated, Reuterward’s website shows nothing other than a slideshow of a few dark photographs from Aktstudien und Deutsche Landschaften, his forthcoming exhibition of large format nude portraits and German landscapes at Berlin’s Camera Work. The landscapes new, the nudes produced over the past 10 years, he uses his great skill and unique eye for composition to create an intense dialogue between the objects of his obsession.

Photographs from top
Aktstudie 002
Grevgatan, Stockholm, Sweden

Deutsche Landschaft 1205
Ariel view of Sylt, Germany

Deutsche Landschaft 1207
Schönau am Königssee,
Berchtesgaden National Park,
Bavaria, Germany

Deutsche Landschaft 1206
Neinhäger Holz,
Mecklenburger Bucht, Germany

All images ©Blaise Reutersward
Courtesy Camera Work


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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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mouth2mouth | Philip Treacy on Photography

Friday, February 1st, 2013

mouth2mouth | interview
philip treacy | milliner

Over 30 of his hats were worn at HRH Prince William and Kate Middleton’s wedding. Probably the world’s best-known hat designer, Philip Treacy began his career in 1990, in London, having been taken under the wing of the late Isabella Blow. Milliner of choice for many top fashion designers, he created hats for Alexander McQueen’s white haute couture collection at Givenchy, for Karl Lagerfeld at Chanel, as well as for Valentino, Ralph Lauren and Donna Karen. In 2000 Treacy was invited to present the first ever Paris couture show dedicated to millinery. Named British Accessory Designer of the Year five times at the British Fashion Awards, he created hats for film – Harry Potter – for Grace Jones, Daphne Guinness, Naomi Campbell, Lady Gaga and Madonna. A new book, Philip Treacy by Kevin Davies, the result of a 20-year collaboration between the milliner and his long-time friend, photographer Kevin Davies, is published in February by Phaidon. Former creative director at Tatler turned photographer, Pedro Silmon asked Treacy about his passion for photography and photographers.

In the introduction to your and photographer Kevin Davies’ book you say that every hat you ever made began, in your mind, as a photograph. Who is the photographer?
Always Irving Penn. He was the quintessential hat photographer.

A hat is an idea. A suggestion. A hat isn’t an inanimate object you put on your head – it’s supposed to do something – you’re drawing with material to create an illusion. I identify with photographers because they’re doing the same thing as I am.

Is there a particular genre of photographer you like best?
Iconic Hollywood. Greta Garbo’s photographer, Clarence Sinclair-Bull, George Hurrell. Those I discovered in the books I saw for the first time when I went to art college in Dublin. The photographers who invented glamour and made people look beautiful: Hoynigen-Huhne, Edward Steichen, Horst, Cecil Beaton, Angus McBean.

Which other photographers’ work do you like?
Helmut Newton. He was very persuasive and impressed me so much with his charm that I felt I couldn’t seriously say no when he asked to photograph me, who hates having his photograph taken – topless!
Bruce Weber is amazing. His black and white is really colour. So many tones… He put my hats on male models. Such a simple idea but it worked and just looked fantastic. Avedon asked me to make a hat specifically for an Egoïste cover he was shooting with Stephanie Seymour as the model. He was like a teenager – full of energy – really excitable.

Photographers are engaging and obsessive and I understand that. I like photographers that have a point of view and who put their stamp on a picture as if they’ve painted it. You can always tell a Sarah Moon, a Deborah Turbeville, a Paolo Roversi – they have a signature look and extraordinary personality. People like Nick Knight continue experimenting but his pictures are always identifiably his. I like David LaChapelle, who’s charming and has amazing vision. Although I haven’t worked with him a lot, I find Steven Meisel’s work exceptional and unusual – unlike anyone else’s.
One of the biggest influences on me and someone who has been a great inspiration, is Jean-Paul Goude. He’s so talented he doesn’t need to be an arse-hole. He’s a intriguing and charismatic. A designer’s dream. He has incredible ideas that are so simple they show he’s a genius.

What about newer photographers?
I think Mert & Marcus are great. They asked me to make a lace mask for them for the 90th Anniversary cover of French Vogue (2010). I’ve also been working with the German photographer, Cathleen Naundorf, who produces massive, very stylised polaroids.

Which photographers you haven’t enjoyed working with, and why?
I don’t think I’ve come across any… Photographers are like a race of people. I like working with them all.

Sometimes my hats are sent out by publicists to be photographed and I hate it when the photographer tries to do something edgy that just doesn’t work. The best photographers just photograph the hats – no tricks.

Do you like to go on shoots?
Shoot culture has become very irritating and makes going to a shoot daunting experience. So many people. And every time an image pops up on the computer screen, everyone has something to say. I remember when it was the photographer’s point of view that was important. That’s why I was such a fan of Irving Penn, who once took a portrait of me for American Vogue in his little glass-roofed Paris studio, where there was no lighting, no assistant, just a simple chair and a small table, his little camera, him and his charm. Fascinating!…

Do you collect photographs?
I have two wonderful Penn prints – one black and white, one colour – and five of Garbo by Clarence Sinclair Bull, plus a few others by Bruce Weber, Arthur Elgort and Ellen von Unwerth.

Do you have a preference for black and white or colour photographs?
I prefer black and white – it’s more dramatic. But it depends… Colour is a different language. Black and white is more romantic… But, I don’t see it in black and white. I love all the colours in it. What I also love are the really dark pictures that people like Clarence Sinclair Bull did in the 1920s and 30s. The pictures were about darkness, not about light – a lot of photography now is too bright.

You mention in the book that there were always photographers around the studio at 69 Elizabeth Street in the 1990s. Who were they?
Isabella (Blow) was always bringing people in: Michael Roberts, Alastair Thain – all absolutely obsessed – it was wonderful, manic!

Do other photographers still come in or does Kevin now have exclusive access?
They do, Yes. Kevin doesn’t have exclusive access but with him it’s not in your face. He’s a one man band. Quiet. Not loud. Easy. Often, I don’t notice he’s around. I didn’t really understand the pictures when he first starting doing them. They seemed to be the opposite of what people would imagine – not really about the hats, more about the environment. Now I have some of them framed and up on the wall.

Which photographers’ work is on your mood board right now?
… Everybody’s! Because I’m developing another book, with Rizzoli, that won’t be out for another couple of years.

Images from top
In the Studio, 10th February, 1999

The Royal Wedding, Battersea Studio, 27th April, 2011

In the Studio, 69, Elizabeth Street, 11th November

Images by Kevin Davies from the book
Philip Treacy by Kevin Davies
Phaidon
www.phaidon.com
192 pages, hardback, £39.95/€49.95, February 2013

All photographs © Philip Treacy

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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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Auction | René Gruau

Friday, January 25th, 2013

Christie’s Interiors – Style & Spirit
London, South Kensington, UK
Sale: 29th January, 2013
Viewing: January 26th-29th

If you missed the wonderful Dior Illustrated: René Gruau and the Line of Beauty show at London’s Somerset House in 2010, or, if you were fortunate enough to see it but came away aching to own one or more of Gruau’s chic and uncompromisingly graphic, highly collectible, original artworks, here’s your chance. Amongst a mixed bag of almost 400 lots that includes items as diverse as a very handsome pair of mid-20th century German, steel, 10 x 8 field binoculars by Busch (Estimate £2,000-4,000), and a pre-17th century composite elephant bird egg from Madagascar (Estimate £5,000 – 8,000), the catalogue for the forthcoming Christie’s Interiors – Style & Spirit sale, lists four Gruau’s, all at fairly affordable prices.

Images by René Gruau, from top
Point d’exclamation, circa 1950
Gouache on paper, signed
Estimate £2,000-3,000

Le masque, circa 1950
Gouache on paper, signed
Estimate £1,500-2,000

Lady in red, circa 1970
Ink and gouache on paper, signed
Estimate £4,000-6,000

Model for glove, circa 1950
Gouache and ink on paper, unsigned
Estimate £3,000-5,000

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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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