SCHIAPARELLI DALI COMPACT POWDER BOX ROTARY PHONE DIAL Start Price USD 8,500.00 Current Price USD 8,500.00 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Monday, July 21, 2008 End Time Monday, July 28, 2008 Location Capital federal, Buenos Aires See more about 'SCHIAPARELLI DALI COMPACT POWDER BOX ROTARY PHONE DIAL' Description ELSA SCHIAPARELLI & SALVADOR  DALI EXTREMELY STRANGE COMPACT POWDER BOX ROTARY PHONE DIAL MADE IN GOLDEN BRONZE AND BLACK ENAMEL, FIGURING A TELEPHONE DIAL, MADE IN FRANCE CIRCA 1935 DIAMETRE 8,5 CM GENERAL GOOD CONDITION MINOR WASTED FOR THE USE LOOK PHOTOS FOR DETAILS ANY DOUBT PLEASE  CONSULT RELATED SEARCHES TAJAN PARIS 25 JUNE 2003 HOTEL DRUOT LOT59  SALVADOR DALI (D’APRÈS) POUDRIER « CADRAN DE TÉLÉPHONE » Épreuve en métal argenté laqué noir (sauts de laque). Chiffres et lettres rouges et noires sur fond blanc. Chiffré A. M. C. sur le plat supérieur. Diam. 8,5 cm 6 000/8 000 €  Sotheby's Plunges Into High Fashion By Suzy Menkes Published: TUESDAY, NOVEMBER 4, 1997       With its splendid "Paris a la Mode" catalogue featuring society beauties, from Princess Firyal of Jordan through Catherine Deneuve, the Sotheby's sale was a social as well as a fashion event. Two socialites fought over a 1990 Valentino cocktail dress with a rattle of crystal-beaded fringe ($4,887) and the winning bidder said off-the-record Sunday that it was a steal compared to buying from a couture house. The significant thing about Sotheby's classy launch into the secondhand clothes business, is that nine out of the top 10 items went to private collectors, rather than museums. That included the cute Schiaparelli compact from 1935, shaped like a telephone dial ($12,650), and a seductive black lace cocktail dress from Jacqueline de Ribes at $8,625 Friday, May 13, 2005 Telephone dial compact from Elsa Schiaparelli.   http://www.ladies-compacts.com/maker.php?id=729&act=inq&typ=0&dsp=1   Dalí built a repertoire in the fashion and photography industries as well. In fashion, his cooperation with the Italian fashion designer Elsa Schiaparelli is well-known, where Dalí was hired by Schiaparelli to produce a white dress with a lobster print. Other designs Dalí made for her include a shoe-shaped hat and a pink belt with lips for a buckle. He was also involved in creating textile designs and perfume bottles. With Christian Dior in 1950, Dalí created a special "costume for the year 2045."[57] Photographers with whom he collaborated include Man Ray, Brassaï, Cecil Beaton, and Philippe Halsman. Salvador Domingo Felipe Jacinto Dalí i Domènech, was born on May 11, 1904, at 8:47 am GMT[5] in the town of Figueres, in the Empordà region close to the French border in Catalonia, Spain.[6] Dalí's older brother, also named Salvador (b. October 12, 1901), had died of gastroenteritis, nine months earlier, on August 1, 1903. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary[7] whose strict disciplinarian approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors.[8] When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation,[9] which he came to believe.[10] Of his brother, Dalí said: "… [we] resembled each other like two drops of water, but we had different reflections."[11] He "was probably a first version of myself but conceived too much in the absolute."[12] Dalí also had a sister, Ana María, who was three years younger.[7] In 1949 she published a book about her brother, Dalí As Seen By His Sister.[13] His childhood friends included future FC Barcelona footballers, Sagibarbá and Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football together. Dalí attended drawing school. In 1916 Dalí also discovered modern painting on a summer vacation to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.[7] The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theater in Figueres in 1919. In February 1921, Dalí’s mother died of breast cancer. Dalí was sixteen years old; he later said his mother's death "was the greatest blow I had experienced in my life. I worshipped her … I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul."[14] After her death, Dalí’s father married his deceased wife’s sister. Dalí did not resent this marriage as some do think, because he had a great love and respect toward his aunt.[7] Elsa Schiaparelli From Wikipedia, the free encyclopedia Jump to: navigation, search Elsa Schiaparelli On the cover of Time magazine, August 13, 1934. Born 10 September 1890(1890-09-10)Rome Died November 13, 1973 (aged 83)Paris Residence Paris Nationality Italian Occupation Fashion designer Known for Knitwear, surrealism Elsa Schiaparelli (September 10, 1890 – November 13, 1973) was an influential Italian fashion designer. Along with Coco Chanel, she dominated fashion between the two World Wars.[1] Starting with knitwear, her designs were heavily influenced by Surrealists like her collaborator Salvador Dali. However unlike Chanel she never adapted to the changes in fashion after WWII and her business closed in 1954.   [edit] Personal life Schiaparelli was born at the Palazzo Corsini in Rome;[2] her father was dean of the University of Rome and an authority on Sanskrit.[3] She was a great-niece of Giovanni Schiaparelli, who discovered the canals of Mars, and she spent hours with him studying the heavens.[2] She studied philosophy at the University of Rome, during which she published a book of sensual poems that shocked her conservative family.[2] They sent her to a convent until she went on hunger strike; at the age of 22 she accepted a job in London as a nanny.[2] The journey to London gave her a first introduction to fashion. En route, she was invited to a ball in Paris. Having no ballgown, she bought some dark blue fabric, wrapped it around her and pinned it in place;[2] unfortunately the pins couldn't cope with the vigour of her dancing! In London Elsa spent most of her free time in museums and lectures.[2] She was entranced by one lecturer in particular, Count William de Wendt de Kerlor, a Franco-Swiss spiritualist and theosophist, and they married a year later.[2] His career thrived after WWI and in 1921 they moved to New York.[2] Elsa embraced the modernity of New York and the freedom of its women, but her husband spent more and more time away from the city and had abandoned his family by the time their child was born. Maria Luisa Yvonne Radha de Wendt de Kerlor was better known as Gogo Schiaparelli and would become a noted socialite. Elsa's doctor at the time took pity on her situation, and introduced her to Gaby Picabia, ex-wife of French Dadaist artist Francis Picabia and owner of a struggling business selling French fashions in the city.[2] Elsa began working for Gaby, who introduced her to artists such as Marcel Duchamp and Man Ray.[2] When Gaby and Man Ray left for Paris, Schiaparelli followed.[2] [edit] Fashion career In Paris, Schiaperelli - known as "Schiap" to her friends - began making her own clothes. With some encouragement from Paul Poiret, she started her own business but it closed in 1926 despite favourable reviews.[2] She launched a new collection of knitwear in early 1927 using a special double layered stich created by Armenian refugees.[2] Although her first designs appeared in Vogue, the business really took off with a pattern that gave the impression of a scarf wrapped around the wearer's neck.[2] The "pour le Sport" collection expanded the following year to include bathing suits, skiwear and linen dresses. The divided skirt, a forerunner of shorts, shocked the tennis world when worn by Lili de Alvarez at the Wimbledon Championships in 1931.[2] She added evening wear to the collection in 1931, and the business went from strength to strength, culminating in a move from Rue de la Paix to the Schiap Shop in the Place Vendôme.[2] Her relationship with the Dada and Surrealist movements continued in collaboration with Salvador Dalí, Leonor Fini, Jean Cocteau, and Alberto Giacometti. Chanel referred to her as 'that Italian artist who makes clothes'.[4] Dalí designed for her a dress with a large lobster printed onto it, and a hat that looked like a giant shoe. Another hat was shaped like a giant lamb chop; both were famously worn by the Franco-American editor of the French Harper's Bazaar and heiress Daisy Fellowes, who was one of Schiaparelli's best clients. Fellowes owned a 17.27ct pink diamond from Cartier called the Tête de Belier (Ram's Head).[5] This inspired the colour of the box of Schiaparelli's first perfume, which was called "Shocking"; the shade called hot pink by Americans is still known as shocking pink in British English.[4] The packaging, designed by Leonor Fini, was also notable for the bottle in the shape of a woman's torso, supposedly based on Mae West's tailor's dummy. West was one of a number of film star clients; Schiaparelli designed the wardrobe for several films starting with the 1933 version of Topaze, and ending with Zsa Zsa Gabor's outfits for the 1952 production of Moulin Rouge. A darker tone was set when France declared war on Germany in 1939; Schiaparelli's Spring 1940 collection featured “trench” brown and camouflage print taffetas.[2] Soon after the fall of Paris on 14 June 1940, Schiaparelli sailed to New York for a lecture tour; apart from a few months in Paris in early 1941, she remained in New York until the end of the war.[2] On her return she found that fashions had changed, with Christian Dior's New Look marking a rejection of pre-war fashion. The house of Schiaparelli struggled in the austerity of the post-war period, and Elsa finally closed it down in December 1954,[2] the same year that her great rival Chanel returned to the business. Aged 64, she wrote her autobiography and then lived out a comfortable retirement between her apartment in Paris and house in Tunisia. She died on November 13, 1973. [edit] Legacy The failure of her business meant that Schiaparelli's name is not as well remembered as that of her great rival Chanel. But in 1934, Time placed Chanel in the second division of fashion, whereas Schiaparelli was one of "a handful of houses now at or near the peak of their power as arbiters of the ultra-modern haute couture....Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word "genius" is applied most often".[3] At the same time Time recognised that Chanel had assembled a fortune of some US$15m despite being "not at present the most dominant influence in fashion", whereas Schiaparelli relied on inspiration rather than craftsmanship and "it was not long before every little dress factory in Manhattan had copied them and from New York's 3rd Avenue to San Francisco's Howard Street millions of shop girls who had never heard of Schiaparelli were proudly wearing her models". Perhaps Schiaparelli's most important legacy was in bringing to fashion the playfulness and sense of "anything goes" of the Dada and Surrealist movements. She loved to play with juxtapositions of colours, shapes and textures,[4] and embraced the new technologies and materials of the time. With Charles Colcombet she experimented with acrylic, cellophane, a rayon jersey called "Jersela" and a rayon with metal threads called "Fildifer" - the first time synthetic materials were used in couture.[4] Some of these innovations were not pursued further, like her 1934 "glass" cape made from Rhodophane, a transparent plastic related to cellophane.[6] But there were more lasting innovations; Schiparelli created wraparound dresses decades before Diane von Furstenberg and crumpled up rayon 50 years before Issey Miyake's pleats and crinkles.[4] In 1930 alone she created the first evening-dress with a jacket, and the first clothes with visible zippers.[4] In fact fastenings were something of a speciality, from a jacket buttoned with silver tambourines to one with silk-covered carrots and cauliflowers Evening Coat, Spring 1939Designed by Elsa Schiaparelli, French (born Italy)Wool, silk thread embroideryCenter Back Length: 55 inches (139.7 cm)Gift of Mme Elsa Schiaparelli, 19691969-232-3[ More Details ] "Shocking!" The Art and Fashion of Elsa Schiaparelli September 28, 2003 - January 4, 2004 Writing in The New Yorker in 1932, Janet Flanner observed that "a frock from Schiaparelli ranks like a modern canvas," and the Paris fashion designer herself defined dressmaking as an art rather than a profession. The Philadelphia Museum of Art celebrates the extraordinary Elsa Schiaparelli--acknowledged by her contemporaries as the style arbiter of the 1930s--in the first major retrospective exhibition and catalogue to examine the ways in which her creations mirrored the social, political, and cultural climate of her times. This survey explores the Italian-born designer's career from its modernist beginnings in the 1920s, through its connections with surrealism, to the upheavals of war, the business struggles in the years thereafter, and finally the closure of her salon in 1954. It is particularly appropriate that this project has been undertaken by an American museum, for Schiaparelli readily acknowledged that her special relationship with the United States--sparked by the sale of a trompe l'oeil sweater to an American buyer in 1927--was the foundation of her great success, and her impact upon and relationship with the American fashion industry is considered here in detail for the first time. Schiaparelli designed for the modern woman: she created the practical wardrobe for aviator Amy Johnson's solo flight to the Cape Town in 1936; the culottes for tennis champion Lily d'Alvarez that outraged the English lawn tennis establishment in 1931; and the interchangeable wardrobe that she herself wore on her extensive travels. She had a close relationship with the Parisian artistic community, posing for Man Ray and collaborating with such artists as Salvador Dali, Jean Cocteau, Alberto Giacometti, and Marcel Vertes for designs of clothing, fabric, embroidery, jewelry, and advertising. Schiaparelli was prized by women on the best-dressed list, including Millicent Rogers, Daisy Fellowes, Mrs. Harrison Williams, and Lady Mendl, and the clothing they wore will be among the items featured in this selection. Schiaparelli's involvement with film and theater costume was equally celebrated--her designs appeared in more than thirty motion pictures, including Every Day's a Holiday with Mae West and Moulin Rouge with Zsa Zsa Gabor--and is the subject of study here for the first time. Sponsors Shocking! The Art and Fashion of Elsa Schiaparelli has been supported by Carefree and by an endowment from The Annenberg Foundation for major exhibitions at the Philadelphia Museum of Art, The Pew Charitable Trusts, the National Endowment for the Arts, the Robert Montgomery Scott Endowment for Exhibitions, The Women’s Committee of the Philadelphia Museum of Art, the Otto Haas Charitable Trust #2, and the generous donors to Schiaparelli’s List. Promotional support was provided by NBC 10 WCAU, the Greater Philadelphia Tourism Marketing http://www.salvador-dali.net/_eng/_articulos/articulo_ver.asp?id=90 Schiaparelli designed a compact to look like a rotary phone dial. The bottle for her perfume, Shocking!, was modeled after actress Mae West's voluptuous figure. Schiaparelli fashioned air-raid shelter jumpsuits, suede gloves with red snakeskin fingernails, and beach hats inspired by "the folded hats of Danish fishwives." Only I accept the payment through Pay-pal . 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