Page 17 - Lieber Collection Chinese Art
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CHINESE CERAMICS

                                 AND THE ART OF


                         THE LEIBER HANDBAG






                          ͚స⨤க: LEIBER ᝸࠲㬊㶀͸ ㍳᫜









                    No  other  name  is  more  synonymous  with  the  minaudière  than  ᣽ࣷⅡᮣ᝸᣽࠲喑♎ϧ̺ᰰ㖜ᘠݝ  Judith  Leiber
                    Judith Leiber. Known for her artful, elegant and charming hand-
                                                                  ৮❹ȡJudith  Leiber  䦟␬Ⅱᮣ䵳ㆿ⮱䛾ᆙ䈗᝸
                    bag  designs,  her  crystal-embellished  minaudières  have  become
                    icons  in  the  world  of  fashion  and  design.  Since  setting  up  her   ᣽ ࠲ В ڣ ჹ ᰶ 㬊 㶀 ᕔ ⮱喑ٗ 䯲 䔤 ϧ ⮱ 㽚 㼵 㦄
                    own handbag company in 1963, her bags have been sought after  ⽞喑Ϙ䂪᭯ᅇ㽚㼵వȡ㜗ᓋ1963Ꭱ㾟৮❹ޢᐧВ
                    by socialites, celebrities and First Ladies alike, and to this day  ҳ喑Judith  Leiber᝸࠲ᐐऄऺ࿈ᬻᭌ䔪ᢔ喑䕐ᩬ
                    are familiar fixtures on the red carpet. Including jeweled, shaped
                                                                  ⩹す̭๘ϧԾΌ̺Ҹใ喑㜠ϷϺ᭜ऱ๔㈲ౝℜ
                    minaudières,  minimalist  evening  clutches,  and  colorfully  pat-
                    terned purses, Judith Leiber’s repertoire of designs ranges from   حᐼ⤫ൡ⮱፥჏ȡᓋ䕍ಸݒ㌨⮱Ⅱᮣ᝸᣽࠲喑ݝ
                    the elegantly understated to the whimsically wonderful.   㽚㼵ㅎ㈱⮱ᮇს࠲喑ںݝ㞟ᒖᬻϛ㈸ὐ䅽ჹ⮱䡏
                    Many  of  these  original  handbags  are  exhibited  next  to  Gerson   ๫喑Judith  Leiber  ⮱᝸࠲㽚㼵㾛䛸γᓋѻ㿬ຏ㤜
                    Leiber’s  vibrant  abstract  expressionist  paintings  in  the  Leiber  ݝ⪝ᘠ๖䪸⮱̭ܴჇ㓖ȡ
                    Collection—an elegant, specially built Renaissance and Palladi-
                    an-inspired building in East Hampton. The couple’s Chinese art   䕆ψ࣌ޢ᝸࠲㜴  Gerson  Leiber  僛≨⮱៪䆎㶕
                    collection is displayed amongst their personal artistic creations,  ⤫ͨ㓖⇦⪘̭Ң䮠ౕ݄Ѻ᫩Პ⑏ᮛ䵀⮱Leiber
                    and the presence of Chinese art in Judith Leiber’s designs is pal-
                                                                  ࢇ➖乕喑䕆᭜̭Ḍ㽚㼵ڥ䯲⮱喑ݨᘼ䖢ᓗ᪴㬊ᓖ
                    pable  when  comparing  the  two. A  minaudière  in  the  form  of  a
                    Buddhist lion, an embroidered floral purse reminiscent of textiles   㜵᭯᱌ࣷፂ៶㦯ດ䷕ᵩ⮱ᐧヶȡᄺ℁ࢇ➖乕͚ᆂ
                    stitched  in  Peking  knot,  a  clutch  shaped  like  a  ‘boy’  pillow,  a  ⹧⮱͚స⨤க㫼৮喑ႰԾᄺ㾟๘ྒྷ⮱㬊㶀ޢ҉হ
                    bamboo-handled bag echoing a picnic box (tihe)—these are just  㽚㼵⮱ᒞ䴬䶜㔹ᭀ㺸ȡᓋ҈⡲䕍ಸ⮱᝸᣽࠲喑ݝ
                    some of the Chinese-inspired elements one discerns. Perhaps it
                                                                  ὎Ь͚స㟞ࡶݧ㎎⮱䡏๫喑ݝВ႖ٿ᳂◧䕍ಸ⮱
                    is not so surprising, considering that the Leibers have lived with
                    their art throughout their life. Their collection was not only con-  ᮇს࠲喑ںݝ䙺В〦㥶᣽᝸㽚㼵⮱ЬⱌȪ᣽⯿ȫ
                    nected  to  their  home  through  a  serene  sculpture  garden,  many  ᝸࠲喑䕆ψ㽚㼵䘪ᒝ䶜㦄⓰ࣇ⮱͚సٰ㉍ȡ䕆ᝃ
                    Chinese  ceramic  and  furniture  pieces  were  also  proudly  dis-
                                                                  㽞͓̺⼭๴喑⪏「Leiber๘ྒྷ̭䑖ၽ䘪В㬊㶀◧
                    played in their home.
                                                                  ѡ喑ЃԾ⮱ѼႲ℄䙝ࢇ➖乕喑͚䫀⩞̭ᏔᎪ䲉⮱
                                                                  䰂ൾڙి䕐ᣒ喑჏ᐠ㜒ბ㮂㮂䮠㽚㦄ЃԾᑂВ◧
                                                                  ớ⮱͚స㬊㶀৮ȡ


                                  INSPIRED: CHINESE ART FROM THE COLLECTION OF GERSON AND JUDITH LEIBER      15
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