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Stretch polyamide flared DRESS with red ornamental motif (…

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OPENING CEREMONY Stretch polyamide flared DRESS with red ornamental motif (T XS) (slightly relaxed fabric)

232

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OPENING CEREMONY Stretch polyamide flared DRESS with red ornamental motif (T XS) (slightly relaxed fabric)

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Estim. 450 - 900 EUR

Ranft beaker with flying witch in the style of Anton Kothgasser - Fürchtegott Leberecht Fischer (attrib.) - Vienna, 2nd quarter 20th century - Ground cut star and beveled foot rim, conical, slightly swinging dome; frontally painted picture field with a witch in a pink dress flying on a broom, a dog and a cat on the grass below her. Clear glass, partially stained yellow, decoration in gold and transparent enamel. H. 11 cm. - H. Trenkwald: Exhibition of glasses, Vienna 1922, fig. 13.

Estim. 600 - 650 EUR

Bouddha Sakyamuni. Bouddha en albatre, assis en position du lotus. Haute Birmanie, début XX° H: 38 cm Posture Bhumisparsa mudra, d'appel à la terre (Bhumisparsa mudra), soit le geste de la prise de la Terre à témoin. Les doigts de la main droite effleurent le sol, tandis que la main gauche est posée en son giron, paume tournée vers le ciel. Les jambes sont croisées, les plantes des pieds tournées vers le haut. Cette représentation du Bouddha évoque la victoire de Sakyamuni sur le démon Mara et représente le moment le plus important du bouddhisme, celui de l'Éveil. Bas de la robe évasé en fleur de lotus. Traces de laque sombre

Estim. 20 - 30 EUR

EMMANUELLE KHANH, MURIEL CRATEAU, ANONYME. Reunion of a burgundy cotton dress held together by a belt and a green camaïeu silk ensemble including a top and sarouel-style pants. No visible waistband. L_85 cm l_34 cm (pants) L_57 cm (total) l_45 cm (shoulders) L_52 cm (sleeves) (top) L_120 cm (dress), good overall condition, wear and stains, torn labels. Also included: Marie VALOIS. Pink cotton pants. Size 42. Very good condition.

Estim. 800 - 1 000 EUR

Elizabeth Taylor (3) Autograph Letters Signed to National Velvet Director Clarence Brown: "I know I'm not a star" Three ALSs by the adolescent Elizabeth Taylor to National Velvet director Clarence Brown, all signed "Elizabeth," circa 1944-1945. The remarkable letters outline the charming relationship between the actress and the director of her first starring role, beginning with a letter of apology for some youthful indiscretions on the set of National Velvet, followed by a grateful letter for his skillful work on the film, and concluding with a gleeful postcard from a Wisconsin fishing trip. Includes: ALS in pencil, signed "Sincerely, Elizabeth," four pages on a 5 x 4 folding personal stationery card, no date but circa 1944, during the production of National Velvet. In full (spelling and grammar retained): "I'm sorry I said what I did, this morning, that I didn't like my green & yello dress, I know now, that I shouldn't say whether I like anything or not. I'm sorry too, that I spoke to you while you were talking to Miss Revere. Mommy has told me it was wrong. I only did it, because I was in a hurry to talk to you before the hairdresser got me. I though you'd understand, but I promise I'll never do it again. I know I'm not a star Mr. Brown, it was just our joke when Mr. Boil put the star on my dressingroom, but I tore it up to-day and I don't want the red carpit anymore, please, don't think, I think I'm a star the way you said it this morning, makes me never want to be one...P.S. Please excuse the pencil & the way I've jumbled up the pages, but I'm in bed and I couldn't go to sleep until I wrote this." ALS signed twice, "Love, Elizabeth," three pages on a 5 x 4 folding personal stationery card, December 6, 1944. In full: "You know when we were up in Monterey, we bought this blue cashmere sweater for you for an end of the picture preasent, but somehow the picture just never seemed to finish properly, and we never said good-by. But I kept the sweater for you—and now I'de like to give it to you for a thank-you preasent for making me good in 'Velvet' and making 'National Velvet' such a wonderful picture. When everybody keeps telling me how good I am in Velvet I know it is because you made me that way, because you are such a wonderful director. And I appreciate everything you have done for me and 'Velvet'...P.S. I like the way you keep doing it over until we get it right, until it feels just right. Oh thank you thank you Mr. Brown for everything." In closing, Taylor sketches two horses at the bottom of the page. ALS signed "Love, Elizabeth Taylor," one page on a 5.5 x 3.5 postcard depicting a scenic drive near Minocqua, Wisconsin, postmarked August 13, 1945. In full: "It is so beautiful up here in Wisconsin and we're having the most wonderful vacation. We're catching more fish, and I'm catching great big ones. Wait untill I tell you about them." In overall fine condition. Accompanied by an ALS by her mother, signed "Sarah Taylor," three pages, 6.25 x 9.5, personal letterhead, December 6, 1944, also to Clarence Brown. In part: "I must tell you how grateful we are to you...For weeks we have been hearing the most wonderful reports of 'National Velvet.' Everyone agrees it is the best picture they have ever seen—on any screen—any year, etc. Naturally we are happy about it. There is only one thing to mar the thrill & happiness of it all—and you know what that is. Oh, please Mr. Brown, if you could only forgive us—if we could only feel in our hearts that you are our friends—You don't know how unhappy Elizabeth & I have been about it all...We were so 'on the spot' from every direction...and we thought we were doing the right thing...I don't know how true it is but we have heard from several sources that the studio is trying to get 'Peter Pan' for Elizabeth (in Technicolor). If they do we would so like to have you do it. That's all we can think of. Would you do it Mr. Brown? We can hardly wait to see 'National Velvet'—and we hope that in the joy & happiness you feel over the great triumph of your picture you will find it in your heart to forgive us—so that we may feel happy too."

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