Helena Rubinstein: Madame's Collection

Joubert, Helene, (and) David Nash, (and) Susan Gagliardi, (and) Charlotte Grand-Dufay, (and) Yaelle Biro, (and) Suzanne Slesin, (and) Julie Verlaine, (and) Susan Kloman, (and) Catherine Grenier, (and) Estrellita Brodsky, (and) David Radzinowicz

ISBN 10: 2370741287 / ISBN 13: 9782370741288

Edité par Skira, Paris, 2019

A propos de cet article

A gray matte softcover book with French flaps. The title is printed in purple across the front cover and down the spine. The front cover features black-and-white illustrations. Pages: (13), 14-239, (1). Profusely illustrated with full-color and black-and-white images. An extraordinary figure, the first 20th century business woman, a self-made and emancipated woman, a visionary. There are no shortage of superlatives to describe the incredible rise to fame of Helena Rubinstein (1870-1965), dubbed the Empress of beauty by Cocteau, but her role as an experienced collector and a pioneer in the recognition of African and Oceanic arts in Europe and North America is often overlooked. Primarily amassed in Paris through her various encounters, "Madame's collection", now dispersed, comprised over 400 pieces of non-European art including precious Kota and Fang reliquary guardians, exceptional Baoulé, Bamana, Senoufo and Doghon pieces stood alongside works by contemporary painters and sculptors such as Chagall, Braque and Picasso, as well as the array of other spheres covered by the collection. "Businesswoman and founder of a vast cosmetics empire, Helena Rubinstein (1872-1965) spent much of her life assembling an eclectic art collection that made her one of the most important collectors and patrons of the first half of the 20th century. Including wonderful examples of African art, the dazzling ensemble also featured Amerindian, Pacific, and Indonesian artifacts. Following her death, the collections "Madame" had so dramatically displayed in her many homes were disposed of at several historic auctions. Testifying to the key place these objects occupied in Helena Rubinstein's existence and retracing their long journey, this book at last tells the true story of a major collection. Contents are as follows: Recollections of the Helena Rubinstein sale of African and Oceanic art / David Nash -- Madame's collection : Africa at its heart / Hélène Joubert -- Frederic-Henri Lem's mid-twentieth century case for African art and its study / Susan Elizabeth Gagliardi -- Equatorial African treasures from the Rubinstein collection / Charlotte Grand-Dufay -- Masks, mirrors, and mise en scène. The collection and the image / Yaëlle Biro -- Madame and me / Suzanne Slesin -- Helena Rubinstein: the power of an art collection / Julie Verlaine -- To collect "Au Féminin" / Susan Kloman -- A conversation with Estrellita B. Brodsky / Catherine Grenier. VG+: A book in excellent condition, with bright pages and solid binding.

N° de réf. du vendeur 202141

Détails bibliographiques

• Titre: Helena Rubinstein: Madame's Collection
• Éditeur: Skira, Paris
• Date de parution: 2019
• Langue: anglais
• ISBN à 10 chiffres: 2370741287
• ISBN à 13 chiffres: 9782370741288
• Reliure: Softcover
• Catalogues du vendeur:
  • European Art
  • Collections - European Art

A propos de ce titre

Synopsis

A selection from the legendary makeup mogul’s African art collection, with new research and images

With her business acumen and ever-fresh sense of style, it is no wonder that Polish-American businesswoman Helena Rubinstein’s (1872-1965) was once one of the cosmetics industry’s most powerful moguls. Called “Madame” by those who worked with her, Rubinstein rose to global fame as a result of her wildly successful cosmetics empire, which she orchestrated from the inside out to great success even under the economic threat of the Great Depression.

Outside of her entrepreneurial endeavors, Rubinstein pursued philanthropy and art collection, becoming an influential patron of the arts and arbiter of taste. The vast assortment of pieces, ranging from designer furniture to historical artifacts, was particularly notable for its African holdings in addition to its lot of Oceanic, Indonesian and pre-Hispanic art. Hélène Joubert, head of the African heritage unit at the Musée du quai Branly in Paris, led a long-term investigation into Rubinstein’s collection, succeeding in identifying and documenting nearly half of the 400 artifacts, 65 of which are reproduced in this volume, including Kota and Fang reliquaries, expressive masks from the Ivory Coast and the “Bangwa Queen” statuette made famous in the West by photographer Man Ray. Madame’s Collection is an evocative testament to Rubinstein’s discerning eye for beauty across history and culture, as well as a fascinating look into a varied selection of art from beyond the Western world.

À propos de la quatrième de couverture

Assembled over the course of her life, “Madame’s” collection, half real, half mythical, mirrored her own self-construction.

Helena Rubinstein was the founder of the highly successful, international cosmetics empire which bore her name. “Madame” ― as she liked to be called ― acquired a vast quantity of works, furniture, and artifacts of every type, in the process becoming a legendary patron and arbiter of taste. The most remarkable and innovative components of this astonishing collection, dispersed after her death at a historic series of auctions in 1966, were its African holdings, with the remainder being made up of Oceanic, Indonesian, and pre-Hispanic art.

It is the history of this collection, its content, and above all its spirit, that Helena Rubinstein: Madame’s Collection reconstructs. The aim, as well as the approach, of the exhibition is entirely novel. Paradoxically, until now, the story of Helena Rubinstein’s collection of non-Western art has had to be read between the lines: clues can be gleaned from a handful of texts, but the main sources are the countless features the international press devoted to the interiors that Madame occupied.

In a long-term investigation, Hélène Joubert, head of the African heritage unit, hunted down, identified, and scientifically documented half of the nearly four hundred pieces in the collection. Sixty-five of them are reproduced in this catalogue, including the famous “Bangwa Queen”, photographed by Man Ray and shown in 1935 at the Museum of Modern Art in New York at the legendary African Negro Art exhibition. These works conjure up an evocative portrait of Helena Rubinstein, creating an authentic and intimate image of a personality whose global fame simultaneouslyfunctioned as a mask, mirror, and doppelganger.