Original Film Posters Online

La Belle et la Bete / Beauty and the Beast (1946) Studio Still Photographs, French

La Belle et la Bete / Beauty and the Beast (1946) Studio Still Photographs, French 2 black and white single-weight glossy silver gelatin Studio Still Photographs Unframed: 8 x 10 in. (20 x 25 cm) and 10 x 8 in. (25 x 20 cm) Framed: 13½x 15½in. (34.3 x 39.4 cm) and 15½x 13½in. 39.4 x 34.3 cm) To view shipping calculator, please click here

la belle et la bete / beauty and the beast (1946) studio still photographs, french

Modern & Contemporary South Asian Art

Property from the Patwant Singh and Romen & Rasil Basu Family Collection

Property from the Patwant Singh and Romen & Rasil Basu Family Collection Satish Gujral 1925 - 2020 Beauty and the Beast Ink and paper collage on cardboard laid on board Signed in Devanagari and dated '68' upper right 29 ⅛ x 19 ⅝ in. (73.9 x 49.8 cm.) Framed: 30 x 25 ½ in. (76.2 x 64.7 cm.) Executed in 1968

beauty and the beast

Original Film Posters

La Belle et la Bete / Beauty and the Beast (1946) Poster, French, Style A

La Belle et la Bete / Beauty and the Beast (1946) Poster, French, Style A Artist: Jean-Denis Malcles (1912-2002) Unframed: 63 x 47 in. (160 x 119 cm) Jean-Denis Malcles was an established French artist, who worked in a variety of different mediums, including opera set designs, book illustrations and his passion, painting. Jean Cocteau commissioned his friend Malcles to create a fitting poster for his fantasy romance film. This poster was one of Malcles few forays into the world of film poster design. His design is truly magnificent and captures the magical and surreal imagery used in the film. Not only is this poster one of the best designs produced in the 1940s, it is also considered one of the definitive film posters of the 20th century. Exceptionally rare French poster that does not surface very often. Gabrielle-Suzanne Barbot de Villeneuve's novel, La Belle et la Bête, was published in France in 1740. In 1946 Jean Cocteau adapted the book into its first feature film. Cocteau's artistic vision created a stunning feast for the eyes, with extraordinary sets, costumes and visual effects. The film is considered a masterpiece of French cinema. The film and original story have gone on to be re-made in animation and live action features. It's most recent incarnation was a live action film in 2017.

View 1 of Lot 146: La Belle et la Bete / Beauty and the Beast (1946) Poster, French, Style A

la belle et la bete / beauty and the beast (1946) poster, french, style a

LA BELLE ET LA BETE / BEAUTY AND THE BEAST (1946) STYLE A POSTER, FRENCH

LA BELLE ET LA BETE / BEAUTY AND THE BEAST (1946) STYLE A POSTER, FRENCH Art by Jean-Denis Malcles (1912-2002) 63 x 47 in. (160 x 119 cm) Gabrielle-Suzanne Barbot de Villeneuve's novel, La Belle et la Bête, was published in France in 1740. In 1946 Jean Cocteau adapted the book into its first feature film. Cocteau's artistic vision created a stunning feast for the eyes, with extraordinary sets, costumes and visual effects. The film is considered a masterpiece of French cinema. The film and original story have gone on to be re-made in animation and live action features. It's most recent incarnation was a live action film in 2017. Jean-Denis Malcles was an established French artist, who worked in a variety of different mediums, including opera set designs, book illustrations and his passion, painting. Jean Cocteau commissioned his friend Malcles to create a fitting poster for his fantasy romance film. This poster was one of Malcles’ few forays into the world of film poster design. His design is truly magnificent and captures the magical and surreal imagery used in the film. Not only is this poster one of the best designs produced in the 1940s, it is also considered one of the definitive film posters of the 20th century. Exceptionally rare French poster that does not surface very often. To view shipping calculator, please click here

la belle et la bete / beauty and the beast (1946) style a poster, french

Eclectic | London

LA BELLE ET LA BETE / BEAUTY AND THE BEAST (1946) STYLE A POSTER, FRENCH Art by Jean-Denis Malcles (1912-2002) Gabrielle-Suzanne Barbot de Villeneuve's novel, La Belle et la Bête, was published in France in 1740. In 1946 Jean Cocteau adapted the book into its first feature film. Cocteau's artistic vision created a stunning feast for the eyes, with extraordinary sets, costumes and visual effects. The film is considered a masterpiece of French cinema. The film and original story have gone on to be re-made in animation and live action features. It's most recent incarnation was a live action film in 2017. Jean-Denis Malcles was an established French artist, who worked in a variety of different mediums, including opera set designs, book illustrations and his passion, painting. Jean Cocteau commissioned his friend Malcles to create a fitting poster for his fantasy romance film. This poster was one of Malcles few forays into the world of film poster design. His design is truly magnificent and captures the magical and surreal imagery used in the film. Not only is this poster one of the best designs produced in the 1940s, it is also considered one of the definitive film posters of the 20th century. Exceptionally rare French poster that does not surface very often. 63 x 47 in. (160 x 119 cm) To view shipping calculator, please click here

Modern and Contemporary African Art

the beauty and the beast

English Literature, History, Children’s Books & Illustrations

Beauty and the Beast. J Goodwin, 1813., FIRST EDITION, 7 hand-coloured engraved plates, folding score for “Beauty’s Song at her Spinning Wheel” bound in, title page and two plates supplied in facsimile, original boards, pencil annotations, lacking one plate, restored, rubbed; Beauty and the Beast. William Jackson & Co. 1825. 8 hand-coloured engraved plates, folding score sheet bound in, original boards, score significantly lacking, restored, rubbed ; Beauty and the Beast. Field & Tuer, 1887. with introduction by Andrew Lang, 8 engraved plates, original black boards titled in gilt, minor browning, bindings bumped; preserved in blue folding box (3)

a set of three rare editions of beauty and the beast

Russian Art and Paintings 

three silver prints, each signed, titled and dated 1991 in pencil on the reverse, 1991 

leda and the swan; beauty and the beast; eros and dhanatos

Books &amp; Manuscripts

Small 4to (5 3/16 x 4 1/8 in.; 132 x 105 mm). 8 engraved plates including frontispiece, all hand colored; without the folding sheet of music, some spotting throughout, fore-edge of page 19 slightly frayed without loss. Original printed wrappers, dated 1813 and woodcut "Go, be a beast. - Homer" on lower cover, laid down on boards with contemporary maroon straight-grain half-morocco gilt; extremities worn, some spotting and soiling to boards. In a red cloth drop-box.

beauty and the beast: or, a rough outside with a gentle heart. a poetical version of an ancient tale. illustrated with a series of engravings, and beauty's song at her spinning wheel, set to music by mr. whitaker. london: printed [by b. m'millan] for m. j. godwin, [1813]

Russian Paintings

Handbags & Fashion

Vivienne Westwood Yellow Lace Dress with Sequin Embellishments and Platform Boots, designed by Vivienne Westwood as Belle from Beauty and The Beast, dress - length: 110cm, waist: 44cm, shoulder: 48cm; boots - size: 39, heel: 20cm.

Vivienne Westwood Yellow Lace Dress with Sequin Embellishments and Platform Boots, designed by Vivienne Westwood as Belle from Beauty and The Beast, dress - length: 110cm, waist: 44cm, shoulder: 48cm; boots - size: 39, heel: 20cm. Homologue by Emily Cheong White Cards Pattern Dress with Cutout Details, designed by Homolog as the Card Guard from Alice in Wonderland, length: 140cm, waist: 46cm, sleeve: 82cm.

View 1 of Lot 48: Vivienne Westwood Yellow Lace Dress with Sequin Embellishments and Platform Boots and Homologue White Cards Pattern Dress with Cutout Details

vivienne westwood yellow lace dress with sequin embellishments and platform boots and homologue white cards pattern dress with cutout details

AnimAID | The Art of Animation

BEAUTY AND THE BEAST Aaron Blaise 17 x 12.5 in. Original production-used thumbnail sketches by Aaron Blaise, 1991.

aaron blaise

Travel, Atlases, Maps and Natural History

Daniel Giraud Elliot A Monograph of the Phasianidae, or Family of the Pheasants. New York: published by the author, [1870]-1872 FIRST EDITION, 2 volumes, large folio (597 x 470mm.), dedication to Joseph Wolf, list of subscribers, 79 fine hand-coloured lithographed plates by Joseph Smit and J.G. Keulemans after Joseph Wolf, 2 uncoloured plates of heads and feet, contemporary green half morocco, top edges gilt, very slight spotting (hardly affecting plates), penultimate plate in vol.2 with minor repair in blank area, covers slightly rubbed "OF THE GREAT NINETEENTH-CENTURY ORNITHOLOGICAL MONOGRAPHS, NONE SAVE AUDUBON'S IS SO SUMPTUOUS AS D.G. ELLIOT'S MONOGRAPH OF THE PHASIANIDAE… a rare American contribution to this elegant class of books. It was entirely illustrated by the incomparable Joseph Wolf" (R.M. Mengel, "Beauty and the Beast: Natural History and Art", The Living Bird, 18, Cornell Laboratory of Ornithology, 1979-1980). LITERATURE: Anker 130; Fine Bird Books, p.74; Nissen IVB 295; Zimmer, p.206

View 1 of Lot 9: Daniel Giraud Elliot | Monograph of the Phasianidae, or Family of the Pheasants, 1870-1872, coloured plates

daniel giraud elliot | monograph of the phasianidae, or family of the pheasants, 1870-1872, coloured plates

BEAUTY AND THE BEAST: SPECIAL EDITION 17 x 12.25 in. A set of four limited edition Beauty and the Beast: Special Edition hand-painted cels, 2002. Each cel accompanied by a Walt Disney Animation Studios Certificate of Authenticity. Seq. 15.5 / Sc. 53 Edition number 10/21 Single-cel composite with printed background. Seq. 15.4 / Sc. 54 Edition Number 43/92 Single-cel composite with printed background. Seq. 15.5 / Sc. 15 Edition Number 30/58 Single-cel composite with printed background. Seq. 15.5 / Sc. 35 Edition Number 16/183 Single-cel composite with printed background.

View 1 of Lot 73: Walt Disney Animation Studios

walt disney animation studios

Rick Owens Bodycon Dress with Long Sleeves, Red Fur High-Heel Boots and Red Veil, designed by Rick Owens as The Rose from Beauty and The Beast, dress - length: 180cm, waist: 26cm, 35cm, sleeve: 65cm; heels - size: 41, height: 15cm.

Rick Owens Bodycon Dress with Long Sleeves, Red Fur High-Heel Boots and Red Veil, designed by Rick Owens as The Rose from Beauty and The Beast, dress - length: 180cm, waist: 26cm, 35cm, sleeve: 65cm; heels - size: 41, height: 15cm. Saint Laurent by Anthony Vaccarello Navy Blue Leather Jacket and Maxi Mesh Turtleneck Dress, designed by Saint Laurent as the Queen from Snow White, dress - size: small, length: 170cm, waist: 26cm, shoulder: 40cm, sleeve: 80cm; jacket - length: 50cm, waist: 35cm, shoulder: 55cm, sleeve: 60cm.

View 1 of Lot 35: Rick Owens Bodycon Dress with Long Sleeves, Red Fur High-Heel Boots and Red Veil and a Saint Laurent Navy Blue Leather Jacket and Maxi Mesh Turtleneck Dress

rick owens bodycon dress with long sleeves, red fur high-heel boots and red veil and a saint laurent navy blue leather jacket and maxi mesh turtleneck dress

English Literature, History, Science, Children’s Books and Illustrations Online

FOLKARD, CHARLES AND G.H. HARTLEY Thirteen (of sixteen) drawings for Mother Goose's Nursery Tales, comprising: Charles Folkard i) "Pray, Baker, give me some bread", 415 by 292mm., signed lower right "CHARLES FOLKARD"; ii) "Help! Help! My Lord the Marquis of Carabas is drowning!", 256 by 167mm., signed lower right "CHARLES FOLKARD", laid-down to card; iii) "They saw the Ogre striding from hill to hill", 256 by 168mm., signed lower right "CHARLES FOLKARD", laid-down to card; iv) "The Giant roared out: 'Who’s there?'", 435 by 292mm., signed lower right "CHARLES FOLKARD"; v) "Somebody has been at my porridge", 440 by 292mm., signed lower left "CHARLES FOLKARD"; vi) "And Fox-lox said, 'Come along with me, and I will show you the way'", 255 by 168mm., signed lower right "CHARLES FOLKARD", laid-down to card; vii) "She put on her teeny-tiny bonnet and went to take a teeny-tiny walk", 395 by 260mm., signed lower left "CHARLES FOLKARD" J.H. Hartley viii) "The King’s son met her", 255 by 170mm., signed with initials lower left "J.H.H."; ix) "On the bed he saw the most beautiful sight his eyes had ever beheld", 255 by 173mm., signed lower right "J.H. HARTLEY"; x) "She saw a little man of very ugly appearance", 345 by 230, unsigned; xi) "In a short time he had no further disturbance from the rats and mice", 410 by 275mm., unsigned, with paper onlay correction; xii) "'A witch – a witch!' cried the man in his surprise", 253 by 171mm., signed lower right "J.H. HARTLEY", some spotting; xiii) "A baboon handed her a gloved paw and the procession walked to the supper-table", 255 by 170mm., unsigned; all ink and watercolour drawings In 1923 A.&C. Black published Mother Goose's Nursery Tales edited by L. Edna Walter. The book included colour plates by Charles Folkard and J.H. Hartley. Tales represented here include 'The Sleeping Beauty', 'Puss-in-Boots', 'The Story of the Three Bears', 'Dick Whittington and his Cat', 'The Story of Chicken-licken' and 'Beauty and the Beast'. Please see Shipping Calculator Link: Click Here

folkard and hartley, 13 drawings for mother goose's nursery tales, 1923

English Literature, History, Science, Children’s Books and Illustrations

YEATS, JACK Autograph letter signed, to his cousin Edwin Butler Yeats sending Christmas greetings and news of the festivities in Sligo ("...There was a dance in one of the houses down the village last night they danced till about 6 am...), illustrated with a series of narrative drawings entitled "The Tale of the 16th century" seemingly about a young man who falls off his horse after a visit to an inn and blames his injuries on a fight with robbers, with a final additional sketch a self-portrait showing the artist "late" chasing after the postman, 5 pages, 8vo, [Sligo, 1880s] A FINE AND HIGH-SPIRITED ILLUSTRATED LETTER BY THE YOUNG JACK YEATS. Hilary Pyle notes the rarity of Jack Yeats's juvenilia, even though he was "an artist who is said to have been drawing since he left the cradle" (Jack Yeats, 1970, p. 22). Bruce Arnold reproduces one childhood letter with a sketch of William Pollexfen (Jack Yeats, 1998, p. 22), and mentions another that is incorporated in a letter to the artist's sister Lily. He also notes two sets of drawings in a narrative sequence, one given to each sister: 'Beauty and the Beast' given to Lolly, (now in the National Library of Ireland); and 'The Pasha', which was given to Lily. Both narrative sequences were composed in 1885, when the artist was thirteen, and the current set of drawings is probably from around the same date. PROVENANCE: Sotheby's, London, 15 July 1999, lot 138

View 1 of Lot 224: YEATS, JACK B. | Illustrated autograph letter signed, to his cousin Edwin, [c.1885]

yeats, jack b. | illustrated autograph letter signed, to his cousin edwin, [c.1885]

A set of 6 limited edition animation cels from an assortment of Disney classics. Each with Walt Disney Certificate of Authenticity.

A set of 6 limited edition animation cels from an assortment of Disney classics. Each with Walt Disney Certificate of Authenticity. THE PRINCESS AND THE FROG Seq. 30 / Sc. 2 HC4/10 19 x 13 in TARZAN Seq. 15.5 / Sc. 4 2/28 22 x 16 in BEAUTY AND THE BEAST Seq 15.5 / Sc. 15 54/58 22 x 16 in BEAUTY AND THE BEAST Seq. 15.5 / Sc. 53 4/21 22 x 16 in THE JUNGLE BOOK 23 x 19 in (15.75 x 11.75 in) POCAHONTAS 20.5 x 17.5 in (cel: 13 x 9.75 in)

View 1 of Lot 178: Walt Disney Animation Studios

Books and Manuscripts: A Summer Miscellany

ELLIOT, DANIEL GIRAUD A MONOGRAPH OF THE PHASIANIDAE OR FAMILY OF THE PHEASANTS. NEW YORK: FOR THE AUTHOR, [1870]-1872 FIRST EDITION, 2 volumes, folio (600 x 470mm.), dedication leaf, list of subscribers, list of plates, 79 fine hand-coloured lithographed plates by Joseph Smit and J.G. Keulemans after Joseph Wolf (the plate of feathers folded at foot), 2 uncoloured plates of heads and feet by Smit, late nineteenth-century green half morocco, occasional spotting, mostly to text, binding slightly rubbed SPECTACULAR HAND-COLOURED PLATES OF PHEASANTS. "Of the great nineteenth-century ornithological monographs, none save Audubon's is so sumptuous as D.G. Elliot's Monograph of the Phasianidae, or Family of the Pheasants... a rare American contribution to this elegant class of books. It was entirely illustrated by the incomparable Joseph Wolf" (R.M. Mengel, "Beauty and the Beast: Natural History and Art", The Living Bird, 18 Cornell Laboratory of Ornithology, 1979-1980). LITERATURE: Nissen IVB 295; Fine Bird Books, p.74; Anker 130; Wood, p.331; Zimmer, p.206 To view Shipping Calculator, please click here

elliot, d.g. | a monograph of the phasianidae, new york 1870-1872, 2 volumes

including two books illustrated by Walter Crane, Beauty and the Beast,1900, Queen Summer,1891, one book illustrated by Arthur Rackham, Rip van Winkle,1906, and two books illustrated by Aubrey Beardsly, le morte d'Arthur, London,1891 

a collection of illustrated children's bookscirca 1900

Daytime Emmy® Award nominee CHRISTY CARLSON ROMANO is the voice of the title character in the first-ever animated Disney Channel Original Movie Disney's Kim Possible Movie: So the Drama, based on the Emmy® Award-nominated series Kim Possible. The series and movie follow the comedic action-adventures of a typical high school girl who, in her spare time, saves the world from evil villains.  Romano also performs an original song, "Could It Be?" for the movie.  Romano also stars as the meticulous Ren Stevens on Disney Channel's Even Stevens, a long-running comedy series which received multiple Emmy® Award nominations.  A gifted performer, Romano landed her first acting job at age seven in a production of "Annie."  Her musical theater work include playing Belle in Disney's Broadway production of "Beauty and the Beast," Hal Prince's Broadway production of "Parade" and the national tours of "The Will Rogers Follies," and "The Sound of Music," opposite Marie Osmond.  Born March 20, Romano resides in Los Angeles with her dog, a French Bulldog named Chewy.

ready for action

ANDREAS DEJA is considered one of the world's top animators. Born and raised in Germany, Andreas loved Disney animation from childhood. His heroes were legendary Disney animators Marc Davis and Milt Kahl, and Andreas became close friends and colleagues with both artists when he himself became a Disney artist. His first Disney assignment was designing characters for The Black Cauldron (1985). Since then, Andreas has served as supervising animator for such favorite characters as Gaston (Beauty and the Beast, 1991), Jafar (Aladdin, 1992), Scar (The Lion King, 1994), Hercules (Hercules, 1997), Mickey Mouse (Runaway Brain, 1995 and Fantasia 2000, 1999) and Lilo (Lilo & Stitch, 2002).

"fruits of the mouse"

Books and Manuscripts from the Collection of Jay I. Kislak. Sold to Benefit the Kislak Family Foundation. 

Elliot, Daniel Giraud A Monograph of the Felidæ or Family of Cats. (London:) Published for the Subscribers, by the Author (Printed by Taylor and Francis), [1878–] 1883 Broadsheets (597 x 482 mm). 43 very fine handcolored lithographed plates after Josef Wolf by J. Smit, printed by M. & N. Hanhart, plates and text on guards; title-page lightly soiled and abraded in one spot, perhaps due to the removal of a stamp, some very occasional light marginal spotting, short marginal tear to one text leaf, a few guards at front reinforced. Contemporary half maroon morocco over marbled boards, marbled endpapers; front cover very faded, rear cover scratched, extremities worn, front hinge cracked at top. First edition, originally issued in 11 parts, of one of the finest color-plate works on mammals and a worthy companion to Elliot's series of magnificent ornithological folios. This definitive monograph of the cat family describes and dramatically illustrates all the species of cat then known. In order to unravel the confused synonymy of the various species of cats, Elliot visited the great natural history museums of Europe and America to study as many specimens as possible; through careful study and comparison, he eventually reduced the number of then-presumed species by a third. In his preface, Elliot wrote, "Among the Families which constitute the Class Mammalia no more attractive one can be found than that of Felidæ, as its members possess in the highest degree a beauty, both of form and colouring, most gratifying to the eye, and are also endowed with physical strength and weapons of offence not surpassed, and only partially equaled, by any known creatures now living upon the earth. The Family comprises not only the largest and most ferocious of the beasts of prey, but also the graceful little animal that delights to make its home within man's abode." Elliot remarks of Wolf's superior illustrations, "It is quite unnecessary for me to call attention to the Plates which ornament this volume. They are worthy of the great artist who produced them, and they bear an enhanced value from the fact that they constitute the last series of drawings from my friend's magical pencil that will be devoted to scientific illustration." REFERENCE: McGill/Wood 332; Nissen, ZBI 1279

View 1 of Lot 31: Elliot, Daniel Giraud | "Now and forever"

elliot, daniel giraud | "now and forever"

Fine Chinese Ceramics and Works of Art

the deep bowl with rounded sides rising to an everted rim, carved as a band of ruyi heads, interrupted by opposing winged mythical beast-form handles suspending loose rings, the domed cover set with four loops in the form of mythical beast heads suspending loose rings, below a separately carved circular finial in the form of a shou medallion encircled by ruyi heads, all supported on a separately carved flared circular pedestal foot, the sides of the body and cover left undecorated to display the ideal beauty of the even and translucent stone

a rare and finely carved white jade censer and coverqing dynasty, qianlong period

Books, Manuscripts and Music from Medieval to Modern

Helena Rubinstein Collection of letters, documents and material, 1914-1927 Spanning 13 years and chiefly concerning the running of the Helena Rubinstein cosmetics company as well as personal affairs, circa 1,250 letters in total, together with other documents including circa 100 telegrams, 2 contracts, a group of press cuttings, draft advertisements, and a large collection of recipes for cosmetic products and treatments, typescript and manuscript, 8vo and folio, in 7 boxes, New York, London, Paris, Vienna, Berlin, and elsewhere, 1914 to 1927, comprising: circa 500 letters from Helena Rubinstein mainly to Rosa Hollay (nee Bird) (also to Miss Heath, Miss Noble and others), discussing day to day running of the business, starting up in New York "It does cost a fortune to start here but our place will be the very best and very smartest" [12.12.1914], "I am simply itching to start business here" [n.d.], advertisements, "...And now, prepare yourself to have your "best friend" prove your severest advertising critic"" [12.03.1925], recipes, economics of the business, "I am frightfully short of money" [09.01.1915], "...I have to pay over $50,000 that I owe as there seems to be a crisis now - had only $20,000 the other $20,000 I borrowed, goodness only knows when I will pay them back and the rest that is $10,000 have drawn on the London bank..." [n.d. 1920], "...you are spending an awful lot of money" [09.04.1924], "I wish to mercy you would economize somehow" [07.03.1924], clientele, "I do hope Countess Dudley has been taken good care of as she is very swell and rich" [09.01.1917], the employees, "Regarding Mrs Stuart...I always think the people who talk about themselves and say that they are so bright and so clever have a lot to learn" [07.11.1919], her rival Elizabeth Arden, "Study everything the other party does" [18.12.1918], “You know Arden is starting on a very big scale the middle of this month...I leave all this to your good judgement, as you are a Sherlock Holmes; maybe you could send Mrs. Lewis up for a treatment, when she could have a good look round. All the same, I have to doubt that Arden is going to do us some harm. She is going to give a big reception to the newspaper women, so I have heard, I employ a very good girl of hers, who told me that Arden can’t open her mouth to talk to anybody. I have never seen the woman, although she has been seen walking out of my place. I wouldn’t be a bit surprised that she came to Grafton Street and had a course of treatments, and nobody knew who she was” [07.04.1922], her travel plans, her mental and physical health and wellbeing "life isn't really worth living the way I live but am always hoping for better days and more time to myself" [20.10.1916], "I felt so run down and so miserable that at times I felt I would rather be dead than alive" [26.12.1920], going to take "The Cure" for her gout [23.08.1921], her husband, "Have been having trouble with W which naturally upsets me very much" [12.07.1920], “Between you and I, it is impossible for me to explain to you the relation existing between him and me: everything is terribly forced and I do not know anything as to his future movements…” [09.06.1922], her family, her friendship with Hollay, "...even here I know that I have a genuine friend in you, and you may feel that about me, although I call you down sometimes" [17.02.1922], “I feel that I miss you more than anybody, for you always seem to be such a joy and solace to me” [11.05.1922], and contemporary events especially the war, "I do wish the beastly Germans would get such a licking that they would be compelled to ask for peace" [17.05.1915], "...things seem to be very bad too on account of the war. I do hope the poor soldiers don't fight in the cold. Nobody can put themselves in their position." [05.11.1915], "Everything is terribly expensive here, naturally on account of the war, I would give anything for this war to end, I only marvel how much longer these beastly Germans can hold out." [03.11.1916], 1914-1927 circa 720 letters from Rosa Hollay (nee Bird) mainly to Helena Rubinstein (also to Mr Collins, Ms Leonard, Mr Ogden, Miss Ackroyd, Dr Kapp and others) circa 150 letters, documents and other material relating to the business including 97 telegrams, 2 contracts of employment, receipts, advertisements, press cuttings, cheques, 2 manuscript letters in code, and others, quarto, folio and other collection of cosmetic recipes and guidance for cosmetic treatments, three notebooks, circa 170 typed and manuscript sheets, quarto and folio AN IMPORTANT ARCHIVE OF MATERIAL TRACKING THE RISE OF THE FEMALE COSMETICS TYCOON. Helena Rubinstein (1870-1965) established one of the earliest global cosmetics companies and was one of the first self-made female millionaires. Along with her lifelong rival, Elizabeth Arden, she transformed the cosmetics industry, making the use of makeup socially acceptable at a time when it was only worn by dancers. The letters provide an insight into her acute awareness of the power of advertising, marketing, luxurious packaging and client experience as well as tapping into key players in high society and Hollywood. Along with this, they reveal an intense vulnerability, where Rubinstein is constantly in mental and physical distress, experiencing financial instability and precariousness, and where her difficult marriage eventually leads to a painful divorce. Hollay is her confidant, business partner, friend and outlet for her many frustrations. Rosa Hollay (1886-1973) was Helena Rubinstein’s secretary and second-in-command for 15 years from 1914 to 1929, managing her London offices while Helena travelled the world opening and running other salons in America, Australia and Europe. She started working for Helena just as she had moved to New York following the start of World War I, and much of the early letters document her establishing herself in America. At the end of 1927 Rosa and Helena fell out for reasons unknown, leading to Rosa setting up her own beauty salon on Old Bond Street, Madame Suzanne Verdi. When Rosa died in 1979 she left this archive to her friend and former beauty client, Lady Bulmer. Rubinstein expresses both a sincere and profound love for Rosa, “I feel that I miss you more than anybody, for you always seem to be such a joy and solace to me” [May 11 1922], as well as having the capability of extreme irritation, for example in a dispute about Helena's husband, Mr Titus: “I was very very upset the way you treated Mr Titus telegram, first of all someone could have stayed in the house, why should he go to a hotel when he has a place to stay….” [n.d. Sunday]. To this, we have Rosa's response: "I am very sorry you should have considered my reply to Mr Titus's wire as stupid...it seems to me that I did the best possible under the circumstances." [30.07.1923]. The complexity and closeness of their relationship is expounded through these letters as well as revealing two highly unusual women together navigating an international business, managing numerous employees and their personal relationships amidst unprecedented circumstances such as the War, women's suffrage, and the Great Depression. As well as this, the archive provides an intensive insight into the production of cosmetic products during the transition from hand-mixing to wholesale factory manufacturing. Helena constantly advises Rosa and her other employees on mixing techniques, perfumes to use, product storage and treatment processes. The multifaceted nature of running a business is powerfully demonstrated through this highly intimate collection of material.

View 1 of Lot 261: Helena Rubinstein | Collection of letters, documents and material, 1914-1927

helena rubinstein | collection of letters, documents and material, 1914-1927

A Scholarly Journey: The Tuyet Nguyet and Stephen Markbreiter Collection　

Property from the Tuyet Nguyet and Stephen Markbreiter Collection

Property from the Tuyet Nguyet and Stephen Markbreiter Collection A large collection of reference books on Chinese art and export art 雪月藏亞洲藝術珍品 中國藝術品及外銷藝術參考書籍一組約80本 Comprising around 80 reference books on Chinese art and Chinese export art. Highlights include A. W. Bahr's Old Chinese Porcelain and Works of Art in China, reference books on prominent museum and private collections, such as the Percival David Foundation Collection, Carl Kempe Collection, and reference books for collectors such as Provenance, Chinese Art: A Guide to Motifs and Visual Imagery. This lot will be sold as a collection and not subject to return. 此拍品恕不設退款。 Including: A Descriptive and Illustrated Catalogue of the Malcolm Macdonald Collection of Chinese Ceramics in the Gulbenkian Museum of Oriental Art and Archaeology, School of Oriental Studies, University of Durham, London, 1972A Legacy of Chenghua《成窯遺珍: 景德鎮珠山出土成化官窯瓷器》, Tsui Museum of Art, Hong Kong, 1993A. W. Bahr, Old Chinese Porcelain and Works of Art in China《中國古瓷美術譜》, London, 1911An Anthology of Chinese Ceramics, Hong Kong Museum of Art, Hong Kong, 1985An Exhibition of Important Chinse Ceramics from the Robert Chang Collection《雲海閣》, London, 1993Ancient Chinese Ceramic Gallery《中國古代陶瓷館》, Shanghai Museum, Shanghai, 1996Ann Paludan, Chinese Sculpture: A Great Tradition, Chicago, 2006Annette L. Juliano, Bronze, Clay and Stone: Chinese Art in the C.C. Wang Family Collection, London, 1989Art and Imitation in China《馳騁古今：中國藝術的仿摹與創新》, University Museum and Art Gallery, University of Hong Kong, Hong Kong, 2006Barbara Harrisson, Swatow in het Princessehof: The Analysis of a Museum Collection of Chinese Trade Wares from Indonesia, Gemeentelijk Museum Het Princessehof, Leeuwarden, 1979Brian McElney, The Museum of East Asian Art Inaugural Exhibition, vol. 1 Chinese Ceramics, The Museum of East Asian Art, Bath, 1993Brush and Clay: Chinese Porcelain of the Early 20th Century, Hong Kong Museum of Art, Hong Kong, 1990C.J.A. Jörg, Chinese Export Porcelain: Chine de Commande from the Royal Museums of Art and History in Brussels, Hong Kong, 1989Carl Kempe, Bo Gyllensvärd, Chinese ceramics in the Carl Kempe Collection, Stockholm, 1965Celia Carrington Riely, Max Löhr, Chinese Art from the Cloud Wampler and Other Collections in the Everson Museum, New York, 1968Chang Foundation Inaugural Catalogue《鴻禧美術館開館紀念選集》, Taipei, 1990China 5,000 Years: Innovation and Transformation in the Arts, Solomon R. Guggenheim Museum, New York, 1998Chine: le siècle du premier Empereur, Monaco, 2001Chinese Antiquities from the Brian S. McElney Collection《麥雅理珍藏中國古物》, Hong Kong Museum of Art, Hong Kong, 1987Chinese Art and Design: The T. T. Tsui Gallery, Victoria & Albert Museum, London, 1991Chinese Art from the Ching Wan Society Collections《中華文物集粹: 清翫雅集收藏展II》, Taipei, 1998Chinese Art: Modern Expressions, The Metropolitan Museum of Art, New York, 2001Chinese Export Art and Design, Victoria and Albert Museum, London, 1987Ching Wan Society Millennium Exhibition《千禧年清翫雅集收藏展》, Taipei, 2000Chūgoku bi no meihō《中国美の名宝》, vols 1-5, 1991Chuimei Ho and Bennet Bronson, Splendors of China's Forbidden City: The Glorious Reign of Emperor Qianlong, Field Museum of Natural History, Chicago, 2004Clare Le Corbeiller, China Trade Porcelain: Patterns of Exchange, The Metropolitan Museum of Art, New York, 1974Clarence F. Shangraw, Origins of Chinese Ceramics, China House Gallery / China Institute in America, New York, 1978D. F. Lunsingh Scheurleer, Chinese Export Porcelain, Chine de Commande, New York, 1974David Howard, John Ayers, China for the West: Chinese Porcelain and Other Decorative Arts for Export Illustrated From The Mottahedeh Collection, 2 vols, New York, 1978David Howard, John Ayers, Masterpieces of Chinese Export Porcelain from the Mottahedeh Collection in the Virginia Museum, London, 1980David Sanctuary Howard, Chinese Armorial Porcelain, vol. II, London, 2003David Sanctuary Howard, The Choice of the Private Trader: The Private Market in Chinese Export Porcelain Illustrated from the Hodroff Collection, London, 1994Eastern Ceramics and Other Works of Art from the Collection of Gerald Reitlinger, Ashmolean Museum, Oxford, 1981Elinor Gordon, Collecting Chinese Export Porcelain, London, 1978Elinor L. Pearlstein, James T. Ulak, Asian Art in the Art Institute of Chicago, Chicago, 1993Exhibition of Ancient Chinese Ceramics: From the Collection of the Kau Chi Society of Chinese Art, Chinese University of Hong Kong Art Gallery, Hong Kong, 1981Exhibition of Shiwan Wares《石灣陶展》, Fung Ping Shan Museum, Hong Kong, 1979Fujio Koyama, John Figgess, Two Thousand Years of Oriental Ceramics, London, 1961Gems of China's Cultural Relics《中國文物精華》, Beijing, 1997Gems of Chinese Art from the Asian Art Museum of San Francisco, the Avery Brundage Collection《中國珍貴文物：舊金山亞洲美術博物院布倫德基氏收藏》, Hong Kong, 1983Geoffrey Arthur Godden, Oriental Export Market Porcelain and its Influence on European Wares, London, 1979George Kuwayama, New Perspectives on the Art of Ceramics in China, Los Angeles County Museum of Art, Los Angeles, 1992Gerald Davison, The Handbook of Marks on Chinese Ceramics, London, 1994Gunhild Avitabile, Herbert Butz, From the Dragon's Treasure: Chinese Porcelain from the Nineteenth and Twentieth Centuries in the Weishaupt Collection, 1987Henry Inn, Chinese Houses and Gardens《園庭畫萃》, Taipei, 2014Herbert F. Schiffer, Peter Berwind Schiffer, Nancy Schiffer, Chinese Export Porcelain: Standard Patterns and Forms, 1780 to 1880, Pennsylvania, 1997 Homage to Heaven, Homage to Earth: Chinese Treasures of the Royal Ontario Museum, Toronto, 1992Imperial China: The Living Past, Art Gallery of New South Wales, Sydney, 1992 J. May Lee, Michael B. Weisbrod, Chinese Ceramic Art: Innovation and Imitation from the Neolithic Period through the Qing Dynasty, New York, 1988 Jessica Rawson, Chinese Ornament: The Lotus and the Dragon, British Museum, London, 1984 Jessica Rawson, ed., Chinese Art, British Museum, London, 1992Jing Pei Fang, Symbols and Rebuses in Chinese Art: Figures, Bugs, Beasts, and Flowers, Toronto, 2004John Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, London, 1980Mary Tregear, Shelagh Vainker, Art Treasures in China, New York, 1994Masahiko Sato, Chinese Ceramics: A Short History, New York, 1981 Michael Cohen, William Motley, Mandarin and Menagerie: Chinese and Japanese Export Ceramic Figures, vol. 1 The James E. Sowell Collection, London, 2008Michael Sullivan, Arts of China: A Short History, 1973Nancy Zeng Berliner, The Emperor's Private Paradise: Treasures from the Forbidden City, Peabody Essex Museum, Salem, 2010Patricia Bjaaland Welch, Chinese Art: A Guide to Motifs and Visual Imagery, Vermont, 2008Patricia Buckley Ebrey, Accumulating Culture: The Collections of Emperor Huizong, Seattle, 2009Pierre Eugène Lamairesse, L'empire Chinois, vols I-IVR. L. Hobson, Chinese Pottery and Porcelain, New York, 1976René-Yvon Lefebvre d'Argencé, Chinese Ceramics in the Avery Brundage Collection, The de Young Museum Society, San Francisco, 1967Richard E. Strassberg, A Chinese Bestiary: Strange Creatures from the Guideways through Mountains and Seas, Berkeley, 2018Rosemary E Scott, Percival David Foundation of Chinese Art: A Guide to the Collection, London, 1989Roy Davids, Dominic Jellinek, Provenance: Collectors, Dealers and Scholars in the Field of Chinese Ceramics in Britain and America, South Oxfordshire, 2011Secret World of the Forbidden City: Splendors from China's Imperial Palace, Bowers Museum of Cultural Art, California, 2000Selected Pieces of Chinese Porcelain from the Collection of Mr Chan Nam-san and Mme. Mao Ngei-ing, 1979Sir Harry Garner, Oriental Blue and White, Yoseloff, 1964Stephen W. Bushell, Description of Chinese Pottery and Porcelain, 1910Suzanne G. Valenstein, A Handbook of Chinese Ceramics, The Metropolitan Museum of Art, New York, 1975T'an Tan-Chiung, Selected Specimens of Chinese Porcelain《中華古瓷圖錄》, Taipei, 1959The Golden Age of Chinese Archaeology: Celebrated Discoveries from The People's Republic of China, National Gallery of Art, Washington, DC, 1999The Quest for Eternity: Chinese Ceramic Sculptures from the People's Republic of China, Los Angeles County Museum of Art, Los Angeles and San Francisco, 1987The Tsui Museum of Art: Chinese Ceramics, Hong Kong, 1993Thomas V. Litzenburg, Jr., Chinese Export Porcelain in the Reeves Center Collection at Washington and Lee University, London, 2003Treasures of Chinese Export Ceramics from the Peabody Essex Museum, London, 2012William Watson, The Arts of China 900-1620, London, 2000William Watson, The Arts of China to AD 900, New Haven, 1995Yutaka Mino, James Robinson, Beauty and Tranquillity: the Eli Lilly Collection of Chinese Art, Indianapolis Museum of Art, 1983

View 1 of Lot 3147: A large collection of reference books on Chinese art and export art 中國藝術品及外銷藝術參考書籍一組約80本

a large collection of reference books on chinese art and export art 中國藝術品及外銷藝術參考書籍一組約80本

Josselyn, John New-Englands Rarities Discovered: in Birds, Beasts, Fishes, Serpents and Plants of that Country. London: Giles Widdowes, 1672 8vo (146 x 92 mm) A-G8 H6; 11 woodcut illustrations, 1 folding plate, publisher's device and advertisements at end; lacking the front free endpaper. Early calf, blind-ruled, spine gilt-ruled; somewhat rubbed, a little stained. In a brown morocco pull-off case by Rivière & Son. First edition of "the earliest work on the natural history of New England" (Vail), much of it forming a description of herbal remedies among the Indians, many of which were adopted by the new inhabitants. This work contained the first woodcuts depicting native plants, as well as descriptions of the black bear, rattlesnake, sperm whale, and the turkey. The "Description of an Indian Squa" with an accompanying poem, praising black beauty above white, occurs on pp. 99–102. The author had accompanied his father to New England in 1638; in 1663 he made a second visit, joining his brother in Maine for almost eight and a half years. Present here is the preliminary blank, often lacking, as well as the folding plate depicting a lavender plant, and 14 page "Chronological table" at the end, which details the history of New England from Cabot. REFERENCE: Church 618; ESTC R20038; Howes J255; Sabin 36674; Vail, Old Frontier 160; Wing J-1093 PROVENANCE: Cholmondeley Library (bookplate) — C.R. Richmond (bookplate), Sotheby Parke Bernet, 5 March 1975, lot 70 — Laird U. Park, Jr., his sale, Sotheby's New York, 29 Nov 2000, lot 186 — Bonhams, 2 December 2010, lot 15.

View 1 of Lot 53: Josselyn, John | A foundational work of American Natural History

josselyn, john | a foundational work of american natural history

A Legacy of Beauty: The Collection of Sydell Miller Online Auction

the flattened oval nephrite vases carved with stylized beast faces on each side and with elephant and ring handles, with Chinese-style silver bases and tops, the screw on sconces with detachable nozzles, marked on base rims and nozzles with maker's mark above 950 and Made in France, the base rims also stamped Cartier

the flattened oval nephrite vases carved with stylized beast faces on each side and with elephant and ring handles, with Chinese-style silver bases and tops, the screw on sconces with detachable nozzles, marked on base rims and nozzles with maker's mark above 950 and Made in France, the base rims also stamped Cartier 12 1/2 in. 31.8 cm

View 1 of Lot 10: A Pair of French Art Deco Silver and Nephrite Two-Light Candelabra, Robert Linzeler for Cartier, Paris, Circa 1930–40

a pair of french art deco silver and nephrite two-light candelabra, robert linzeler for cartier, paris, circa 1930–40

Arcadian Beauty – Exceptional Works from the Song Dynasty

miniminally worked to conform to the natural contours of the impressively substantial boulder, depicting a recumbent buffalo with its head turned to its left to face backwards and a tail tucked under its hind leg, the beast marked with subtle rounded outlines forming the muscular body and further rendered with a pair of small furled ears and long curved horns, the underside of the boulder incised and filled in with gilt with a fourteen-character inscription translating as 'The spirit of Chou (buffalo) provides the foundation for food, brings joy to tens of thousands of people, and forms the basis of the harvest year by year', dated to the bingyin year of the Qianlong reign (in accordance with 1746) and followed by two seal marks reading Qianlong chenhan (‘the Qianlong Emperor’s literary and artistic work’) and Xintian Zhuren ('ruler who believes in Heaven'), the variegated yellowish-celadon stone extensively mottled with reddish-brown and black patches 

an exceptionally large and rare inscribed jade figure of a buffalo song dynasty, the inscription dated to the bingyin year of the qianlong period (in accordance with 1746) |

cast in the form of a calf sturdily standing foursquare, portrayed with the head slightly raised and a pronounced snout marked with a gently upturned mouth, all below a pair of curved horns issuing from the forehead, the attractively pitted patina of the beast contrasting with the rounded contours of the well-proportioned muscular body, the wood stand with a shaped outline and resting on four short hemispherical feet, the flat surface of the stand with three cavities to house three of the ox’s legs and a protruding rounded fitting to support the shorter front right leg with the broken hoof, the curved sides inscribed by Ruan Heng and succinctly expressing the Ruan family’s high esteem of the rare figure and the state of its missing front hoof; the handscroll dated to 1921 with a painterly sketch in ink of the iron figure, followed by a long colophon titled Record of the Ancient Iron Ox expressing the calligrapher's adoration of the figure since seeing it for the first time in the late 1860s, signed by Tomioka Tessai "at the age of 86" (suggesting that the scroll can be dated to 1921)

an extremely rare iron figure of an ox; wood stand inscribed by ruan heng (1783-1859) and a calligraphic scroll by tomioka tessai (1837-1924) dated to 1921 southern song dynasty |

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