Sotheby’s to Auction Vivien Leigh’s Personal Belongings

Hollywood icon and incandescent star of one of the most beloved films of all time, Vivien Leigh (1913-1967) captured hearts and minds with her fiery, luminous performance as Scarlett O’Hara in Gone with the Wind in 1939. Her legendary status in the pantheon of all-time greats was assured when she secured what perhaps remains to this day the most coveted role in cinema history. Our perception of such legends is often imperceptibly entwined with the myths they come to embody. This September, a spotlight will reveal the inner person few people really knew, in effect Vivien’s private life, when Sotheby’s London brings to auction The Vivien Leigh Collection.

Passed down through Vivien’s family, the collection comprises paintings, jewellery, couture, books, furniture, porcelain, objets d’art and further items celebrating all aspects of her life, from the pre-war years in London, to Hollywood and beyond, up to her death in 1967. Myriad pieces drawn from the city and country homes Vivien shared with her husband Laurence Olivier will give a new perspective on Vivien, from her appreciation of art and patronage of Modern British artists, to her passion for books and fondness for entertaining and interior design.


Vivien Leigh’s family commented: “We hope people take as much pleasure from this collection as our grandparents, parents and families have done.”
Harry Dalmeny, Sotheby’s UK Chairman, commented: “This is our chance to discover the real, and unexpected, Vivien Leigh. We’re all guilty of confusing our favourite actresses with the heroines they portray, of blurring Vivien’s identity with that of Scarlett O’Hara or Blanche DuBois. But, behind the guise of the most glamorous and talked-about woman of her age we find a fine art collector, patron, even a book worm, who was the intellectual equal of the literati, artists and aesthetes she counted among her coterie.

 

NPG x40252; Vivien Leigh by Cecil Beaton

Her private collection does not disappoint. Vivien approached the decoration of her homes as if she were designing a set, incorporating influences and inspiration from a life spent on screen and on stage. These houses were an extension of the theatrical space, with medieval Notley Abbey looking positively Shakespearean. Fifty years on from her death, this sale opens the door into Vivien’s private world, allowing us a privileged and fascinating glimpse into a world that otherwise only her closest friends could ever have known.”

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