“Romance! Couture! [Cristóbal] Balenciaga!” enthused Angel Sanchez backstage after sending a dozen bridal valentines down the runway.

Êîëëåêöèÿ ïðåò-à-ïîðòå îñåíü-çèìà 1993 Versace îò Äæàííè Âåðñà÷å, ñ ó÷àñòèåì â ïîêàçå òîï-ìîäåëåé 90-õ: Íàäè Àóýðìàí, Ëèíäû Åâàíãåëèñòû, Íàîìè Êýìïáåëë, Õåëåíû Êðèñòåíñåí, Êàðëû Áðóíè, ßñìèí Ãàóðè, Êëàóäèè Øèôôåð, Êðèñòè Òàðëèíãòîí, Êåéò Ìîññ è äðóãèõ.




Êîëëåêöèÿ ïðåò-à-ïîðòå îñåíü-çèìà 1994 Andreas Kronthaler äëÿ ìîäíîãî äîìà Vivienne Westwood (Âèâüåí Âåñòâóä), ñ ó÷àñòèåì â ïîêàçå òîï-ìîäåëåé 90-õ: Íàäè Àóýðìàí, Êðèñòè Òàðëèíãòîí, Òàòüÿíû Ïàòèö, Íàîìè Êýìïáåëë, Õåëåíû Êðèñòåíñåí, Êåéò Ìîññ, Ëèíäû Åâàíãåëèñòû, Êàðåí Ìþëäåð, ßñìèí Ãàóðè, Åâû Ãåðöèãîâîé è äðóãèõ.




Juan Pantoja de la Cruz (1553–1608)
Retrato del rey Felipe III de España (1578-1621), hijo y heredero de Felipe II.
circa 1603
oil on canvas 65 cm 47 cm
Royal Palace of Madrid

Juan Pantoja de la Cruz (1553–1608)
Infanta Isabella Clara Eugenia of Spain (detail)
1599
oil on canvas 124.8 × 97.6 cm
Alte Pinakothek


Õóàí Ïàíòîõà äå ëà Êðóñ (1553, Âàëüÿäîëèä — 26 îêòÿáðÿ 1608, Ìàäðèä) — èñïàíñêèé õóäîæíèê. Ðàáîòàë ïðè äâîðå Ôèëèïïà II, è Ôèëèïïà III, îôèöèàëüíûé ïðèäâîðíûé ïîðòðåòèñò.

Juan Pantoja de la Cruz,
Portrait of Doña Ana de Velasco y Girón, duchesse of Bragance
1603
Collection Alicia Koplowitz


Juan Pantoja de la Cruz
König Philipp III.(1578-1621) von Spanien, Bildnis in ganzer Figur als General der Infanterie (Im Hintergrund: Die Belagerung von Ostende 1601-1604)
um 1601/1602
Leinwand_192 x 130 x 7 cm
Kunsthistorisches Museum, Gemäldegalerie

Õóàí Ïàíòîõà äå ëà Êðóñ áûë óðîæåíöåì Èñïàíèè, òàêæå êàê è åãî ó÷èòåëü õóäîæíèê Àëîíñî Ñàí÷åñ Êîýëüî. Îí ðîäèëñÿ â Âàëüÿäîëèäå îêîëî 1553 ã. è óìåð â Ìàäðèäå â îêòÿáðå 1608 ã.
Juan Pantoja de la Cruz
Infanta Ana Mauricia,
1607
Baltimore Museum of Art Baltimore MD

Workshop of Juan Pantoja de la Cruz (1553–1608)
Anne of Austria


Åëèçàâåòà: Êîðîëåâà àíãëèéñêàÿ
Îðèãèíàëüíîå íàçâàíèå: Elizabeth R
Ãîä âûïóñêà: 1971
Ñòðàíà: Âåëèêîáðèòàíèÿ
Ðåæèññ¸ð: Ðîäåðèê Ãðýõýì / Roderick Graham, Ðè÷àðä Ìàðòèí / Richard Martin
Ïðîäîëæèòåëüíîñòü: 6 ñåðèé
01:25:43 + 01:30:33 + 01:28:25 + 01:30:01 + 01:30:19 + 01:18:31
Æàíð: äðàìà, èñòîðè÷åñêèé, áèîãðàôèÿ

Ñåðèè:
1. Ëüâèíàÿ äîëÿ (The Lion's Cub)
2. Áðà÷íàÿ èãðà (The Marriage Game)
3. Òåíü â ëó÷àõ ñîëíöà (Shadow of the Sun)
4. Ñòðàøíûé çàãîâîð (Horrible Conspiracies)
5. Àíãëèéñêàÿ êîìïàíèÿ (The Enterprise of England)
6. Ïîäëèííî àíãëèéñêàÿ ãîðäîñòü (Sweet England's Pride)

 ðîëÿõ: Ãëåíäà Äæåêñîí, Ðîíàëüä Õàéíñ, Ðîáåðò Õàðäè, Ñòèâåí Ìþððýé, Äæîí Øðýïíåë, Àíäæåëà Òîðí, Ðîáèí Ýëëèñ, Ïèòåð Äæåôðè, Ðýé÷åë Êåìïñîí, Âèâèàí Ïèêëç

Àíãëèÿ, 1553 ãîä. Óìåð Ãåíðèõ VIII. Ñòàðøàÿ äî÷ü Ãåíðèõà, êîðîëåâà Ìàðèÿ, — ðåâíîñòíàÿ êàòîëè÷êà. Îíà áåçäåòíà. Êàòîëèêè îïàñàþòñÿ, ÷òî íàñëåäíèöåé ïðåñòîëà ñòàíåò ñâîäíàÿ ñåñòðà Ìàðèè — Åëèçàâåòà. Ìàðèÿ óìèðàåò, è þíàÿ Åëèçàâåòà ñòàíîâèòñÿ êîðîëåâîé.


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Marcus Gheeraerts the Younger (1561–1636)
Portrait of Elizabeth I of England
circa 1597
oil on canvas 193 × 120 cm
Trinity College, Cambridge


Marcus Gheeraerts the Younger (1561–1636)
Elizabeth I, "The Ditchley Portrait" (detail)
circa 1592
oil on canvas 241 × 152 cm
National Portrait Gallery


British School, 16th century
Unidentified painter
Portrait of Elizabeth I of England
between 1580 and 1585
oil on pane_l53.9 × 43.7 cm
© Royal Collection

Àäàì Âèëëàðòñ (Adam Willaerts, èíîãäà Willarts, Willers; 1577-1664) – ãîëëàíäñêèé ìàðèíèñò Çîëîòîãî âåêà.
Ðîäèëñÿ â Ëîíäîíå îò ôëàìàíäñêèõ ðîäèòåëåé, êîòîðûå áåæàëè èç Àíòâåðïåíà ïî ðåëèãèîçíûì ñîîáðàæåíèÿì.
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Ïîñàäêà êóðôþðñòà Ïàëàòèíà íà 55-ïóøå÷íûé êîðàáëü Prince Royal â Äóâðå, 25 àïðåëÿ 1613
79.4 õ 144_õ.,ì.
×àñòíîå ñîáðàíèå
![]()
Adam Willaerts (1577–1664)
A Dutch Squadron attacking a Spanish Fortress
Ê 1585 ãîäó ñåìüÿ æèëà â Ëåéäåíå. Ñ 1597 ãîäà äî ñâîåé ñìåðòè Àäàì æèë è óìåð â Óòðåõòå. Áûë îäíèì èç îñíîâàòåëåé Ãèëüäèè Ñâÿòîãî Ëóêè â ýòîì ãîðîäå (1611 ãîä). Ïèñàë ãîðîäñêèå è ìîðñêèå ïåéçàæè.
Ïðèåì â Ìàðãèòå êóðôþðñòà Ïàëàòèíà è ïðèíöåññû Åëèçàâåòû
(The embarkation of Elector Palatine)
1623_122 õ 197.2_õ.,ì.
Àíãëèÿ, Êîðîëåâñêàÿ êîëëåêöèÿ


Nicholas Hilliard (1547–1619)
Portrait of Elizabeth I of England,
oil on French oak panel, circa 1585
Private collection Rothschild family.

Unknown
English School. ca. 1560s.
Elizabeth I of England in a red velvet dress with a pearl-studded partlet and a ruff trimmed with gold spangles,
between circa 1560 and circa 1569
oil on panel
45.1 cm x34.3 cm

Artist Unknown.
Queen Elizabeth I

Mermod Frères
AN 18K YELLOW GOLD AND ENAMEL HEART-FORM WATCH CIRCA 1850

Swiss
A LADY'S RARE 18K GOLD ENAMEL AND PEARL SET MINUTE REPEATING WATCH, MADE FOR THE CHINESE MARKET
CIRCA 1900

Swiss
AN 18K YELLOW GOLD, ENAMEL AND PEARL-SET MINUTE REPEATING HUNTING CASED WATCH MADE FOR THE CHINESE MARKET
CIRCA 1900


Artist Unknown.
Previously attr. to William Stretes.
The Coronation Portrait,
c. 1600.
Copy of 1559 lost original.
© National Portrait Gallery.

Nicholas Hilliard (called) (1547 - 1619)
Portrait of Queen Elizabeth I
Oil on wood panel
(About 1573 - About 1575)
787 mm õ 610 mm
Walker Art Gallery

attributed to William Segar (1564–1633)
The Ermine Portrait of Elizabeth I of England
circa 1585
oil on canvas
Private collection
Hatfield House
workshop of Nicholas Hilliard (1547–1619)
The "Hardwick Hall" portrait of Elizabeth I of England.
circa 1599
Hardwick Hall




Åëèçàâǻòà I (7 ñåíòÿáðÿ 1533 — 24 ìàðòà 1603), Äîáðàÿ êîðîëåâà Áåññ, Êîðîëåâà-äåâà — êîðîëåâà Àíãëèè è êîðîëåâà Èðëàíäèè ñ 17 íîÿáðÿ 1558, ïîñëåäíÿÿ èç äèíàñòèè Òþäîðîâ. Ìëàäøàÿ äî÷ü êîðîëÿ Àíãëèè Ãåíðèõà VIII è åãî âòîðîé æåíû Àííû Áîëåéí.

Unknown British School
Portrait of Elizabeth I of England in stomacher and petticoat embroidered with roses, birds, and honeysuckle in goldwork and blackwork sleeves
circa 1600
Attr. to Isaac Oliver
"The Rainbow Portrait", c.1600.
Hatfield House.
Âðåìÿ ïðàâëåíèÿ Åëèçàâåòû èíîãäà íàçûâàþò «çîëîòûì âåêîì Àíãëèè» â ñâÿçè ñ ðàñöâåòîì êóëüòóðû (ò. í. «åëèçàâåòèíöû»: Øåêñïèð, Ìàðëîó, Áýêîí è äð.) è ñ âîçðîñøèì çíà÷åíèåì Àíãëèè íà ìèðîâîé àðåíå (ðàçãðîì Íåïîáåäèìîé Àðìàäû, Äðåéê, Ðåéëè, Îñò-Èíäñêàÿ êîìïàíèÿ).

formerly attributed to William Scrots (fl. 1537–1554)
Portrait of Elizabeth I as a Princess
circa 1546
oil on oak panel
© Royal Collection, Windsor Castle


After Franz Xaver Winterhalter
1805 - 1875
PORTRAIT OF PRINCE ALBERT AND QUEEN VICTORIA WITH THEIR CHILDREN
Watercolour on ivory;
bears signature lower right
116 by 175 mm.
Attributed to Emanuel de Critz
LONDON 1608 - 1665
PORTRAIT OF A LADY AND A GENTLEMAN
Antoine Coypel
PARIS 1661 - 1722
ALLEGORY OF MUSIC (A PORTRAIT OF MME. DE MAINTENON WITH THE NATURAL CHILDREN OF LOUIS XIV)
oil on canvas
98 by 152 cm.


Thomas de Keyser (1596–1667)
Portrait of a Lady (detail)
1632
oil on oak wood 79 cm õ cm
Gemäldegalerie, Berlin
Thomas de Keyser
Amsterdam (?) 1596/7 - 1667 Amsterdam
A PORTRAIT OF WEMBRICH VAN BERCHEM (1581-1653), REAR-ADMIRAL OF HOLLAND AND WEST-FRIESLAND, STANDING THREE-QUARTER LENGTH, WEARING A GORGET AND A BLACK COSTUME WITH GOLD SLEEVES, NEXT TO A TABLE WITH A HELMET
Follower of Thomas de Keyser
A PORTRAIT OF A LADY, STANDING THREE-QUARTER LENGTH, WEARING A BLACK DRESS WITH A MILL-STONE COLLAR AND A WHITE BONNET, HOLDING GLOVES
oil on canvas
115 by 87.3 cm.


Òîìàñ Õåíäðèêñ äå Êåéçåð (Keyser, Thomas Hendricksz. de, 1596/97 Àìñòåðäàì — 1667, òàì æå) - ãîëëàíäñêèé æèâîïèñåö Çîëîòîãî âåêà.

Thomas de Keyser (1596–1667)
Portrait of a Lady
1632
oil on oak wood 79_ cm õ cm
Gemäldegalerie, Berlin


Thomas de Keyser
Portrait of a Lady (detail)
1632

Îí áûë âòîðûì ñûíîì àðõèòåêòîðà è ñêóëüïòîðà Õåíäðèêà äå Êåéçåðà (1565-1621), ñ 1616 Òîìàñ íà ïðîòÿæåíèè äâóõ ëåò ó÷èëñÿ ó îòöà. Áûë æåíàò äâàæäû, ñíà÷àëà â 1626 ãîäó íà Machteld Andries, à çàòåì â 1640 ãîäó íà Aaltze Heymerick. Êåéçåð áûë ÷ëåíîì ãèëüäèè êàìåíîòåñîâ Àìñòåðäàìà è âïëîòü äî 1654 ãîäà, êîãäà îí îñòàâèë ðåìåñëî êàìåíîòåñà, çàíèìàëñÿ æèâîïèñüþ îò ñëó÷àÿ ê ñëó÷àþ.
Thomas de Keyser
AMSTERDAM (?) 1596/7 - 1667 AMSTERDAM
PORTRAIT OF A GENTLEMAN, FULL-LENGTH, HOLDING HIS SWORD AND A HAT, WITH A DOG IN AN INTERIOR
oil on oak panel
1624_87.8 x 61.5 cm.

Çóõàèð Ìóðàä ðåøèë âûáðàòü èíûå èñòî÷íèêè âäîõíîâåíèÿ è îáðàòèëñÿ ê êóëüòóðå êîðåííûõ íàðîäîâ Àìåðèêè. Íà ïîäèóìå âî âðåìÿ åãî ïîêàçà áûëè óñòàíîâëåíû ñòèëèçîâàííûå êîïüÿ, à â âîëîñàõ ìîäåëåé ïîÿâèëèñü ïåðüÿ. Øèòüå áèñåðîì, â èçîáèëèè ïðåäñòàâëåííîå íà ïîëóïðîçðà÷íûõ ïëàòüÿõ, îòâå÷àëî è òåìå êîëëåêöèè, è ñòèëþ ðàáîò ëèâàíñêîãî äèçàéíåðà, îò êîòîðîãî æäóò ðîñêîøü è âîñòî÷íûé êîëîðèò.

