💋 EARLY 1900S Q L. LEICHNER'S FETTPUDER OLD THEATER EMPTY MAKEUP TIN BERLIN GERMANY 💋 RARE

🔴 CAN BE SEEN AT THE MUSEUM OF NATIONAL HISTORY BERLIN CENTER USA 🔴 

GOOD OVERALL ANTIQUE Condition See pics they are Description & Enlarge to Decide Please Remember it’s over 100 Years so expect  Aging  & Scuffs Some Paint Loss toTin was hard for me to Open & Close & You can See where it was Opened  For Display Only

 Enlarge Photos to Decide Selling as a Collectable

SEE PHOTOS & READ ABOVE YOU DECIDE ! 

1913 Leichner Fettpuder distributed by Graf Brothers (United States)

LOTS OF FASCINATING  HISTORY 

 …after the death of Ludwig Leichner [1836-1912], the firm passed into the hands of his youngest son, Siegfried Leichner [1889-1962]. However, Leichner’s eldest son, Gustav Adolf Leichner [b.1860], also appears on a number of documents associated with the firm through to the late 1920s.

It seems likely that Leichner left his estate to his wife and/or the whole family. Gustav and Siegfried appear to have had an amicable relationship as together they establish a Leichner branch at Wiedenergüertel, 58, Vienna in 1913. Leopoldine died in 1914 and Gustav was dead by 1929 and this seems to be the point when Siegried took sole control of the firm. I have no firm records of the activities of Leichner’s other son, Jacob [b.1866], or his interests in the company. If he went under the name of Fritz Leichner then he travelled the globe as the company’s sales representative.

After 1912, Leichner appears to have been a greater emphasis on promoting its perfumes and general make-up, best shown in the more sophisticated advertising of the period.

Above: 1913 Eau de Leichner.

Above: 1914 Leichner fine toiletries and perfumes.

Unfortunately, the outbreak of the First World War in 1914 halted further changes in the company’s development.

War

Gustav Leichner appears to have been wounded during the hostilities but Siegfried was unscathed, receiving the Iron Cross Second Class for his role in the development of an automobile deployed on the bad roads of the eastern front.

Above: 1915 Siegfried Leichner in the war car. It had a 100hp engine and a range of 120 kilometres.

Sales of Leichner products both at home and abroad were depressed during the hostilities. Strong anti-German sentiment generated during the war also meant that sales outside Germany did not quickly rebound even after embargoes on German goods were lifted, a situation that lasted well into the 1920s. An example of this hostility can be seen in ‘The Stage’. This leading London theatrical trade newspaper was still refusing to accept Leichner advertisements in 1922.

An attempt is being made by Leichners to recapture the grease paint trade in this country. We have done without German grease paints for so long, and found the better-class English brands so satisfactory, that surely there is no occasion to go back to the foreign article now. So far as this paper is concerned, advertisements which have been offered for Leichners’s grease paints have been refused.

(The Stage, Thursday 13 April 1922, p. 14)

Anti-German feeling may have been part of the reason why Leichner began decentralising its product production in the 1920s. By 1928, it had manufacturing facilities at Ferrograsse 35, Vienna; 16 Rue d’Orléans, Paris; 11-12 Pollen Street, London; 130 West 17th Street, New York; and 3838 Calle Victoria, Buenos Aires. The fortunes of these branches were mixed. The French company was liquidated in 1933, the American branch also disappeared in the 1930s, and the Argentinian company folded in 1947. Things were better in Britain with the company there growing to become the largest and most important part of Leichner.

Leichner (England)

L. Leichner (England) Ltd., was established (capital of £2,000) in 1922. Its registered office was at 15a Whitcomb Street, London, the address of its British distributor, Vanities Limited. In 1925, the company opened a London office at 27 Harcourt Street, Marylebone managed by Stephen Pollitzer [c.1880-1962]. Born on the Continent, Pollitzer was a sales representative in Canada before joining Leichner. He would stay with the firm for the next thirty years.

In 1928, L. Leichner (London) Ltd. was founded at 11-12 Pollen Street (capital £10,000) to manufacture, import and export Leichner cosmetics and stage make-up. The company directors were Siegfried Leichner and Stephen Pollitzer.

In 1931, the company began manufacturing at Leichner House, 30-32 Acre Lane, Brixton. Producing products in Britain had a number of advantages. Leichner could now claim that its products were ‘British made’, which helped diminish any anti-German sentiment. It also enabled the company to avoid some of the new import duties the British government imposed to protect its industries during the Great Depression. Local production also made it easier for Leichner to respond to requests from the British film industry to help them solve make-up problems.

Professional make-up

The growth of the motion picture industry opened up additional uses for Leichner greasepaints. Foan & Wolters suggest that Leichner was the first company to produce make-up specifically for film (Foan & Wolters, 1950, p. 446).

Above: 1925 Leichner practical make-up sets for stage and film arts.

Leichner greasepaint was employed in numerous early silent films, particularly in Germany where film makers had direct access to Leichner expertise early on. Fritz Lang [1890-1976], for example, used Leichner make-up when filming his epic two part film, Die Nibelungen, released in 1924.

Above: 1924 Die Nibelungen: Kriemhilds Rache (Kriemhild’s Revenge) (Pommer & Lang, 1924).

Leichner also supplied make-up for colour photography and later added ranges for the developing medium of television.

Stage

By the 1920s, Leichner was selling a complete range of theatrical make-up including stick, cream and liquid greasepaints, loose and compact powders, liquid powders, face creams, lip and eyebrow pencils along with a wide range of theatrical sundries.

Above: 1926 Leichner theatrical make-up.

The full list is far too extensive to number but can be viewed in the Artists Catalogue Leichner first published in 1926.

Looking specifically at greasepaints, it is worth noting that Leichner was selling cream greasepaints in tubes (Tuben-Schminke) by 1925. The company had been making cream greasepaints well before this but this new packaging matched Max Factor’s Supreme Greasepaint released in 1923.

In 1925, to help inform actors and actresses on how best to use Leichner make-up, Siegfried Leichner opened a make-up school in Berlin with Ernst Loss as its director.

Above: 1925 Drawing of the interior of the Leichner Make-up School with students demonstrating a range of make-ups.

Film

The idiosyncrasies of blue-sensitive film stocks and mercury-vapour and carbon-arc lights used in early silent films meant that performers could not use their stage make-up routines in motion pictures. Leichner recommended using bright yellow, green and violet greasepaints when filming, such as Leichner No. 5 Chinese, No. 13 Red Brown, No. 336 Green III, No. 338 Green and No. 337 Lilac. The company also manufactured light and dark versions of Film Clear, a product said to reduce the appearance of wrinkles on film, an important consideration during close-ups.

Above: 1924 New intensive Leichner make-up in especially bright colours for film and modern stage effects in Form C sticks (Austria).

The arrival of panchromatic film stocks combined with new forms of lighting – widely employed by the 1930s – allowed for more natural forms of make-up. Information on the German production of Leichner panchromatic make-up is sparse but it would appear that company introduced Leichner Panchromo in 1928, the same year that Max Factor developed his Panchromatic Make

Leichner Panchromo was only available in four shades – Women (Light and Dark), and Men (Light and Dark) – but it was available in sticks, powders and creams (tubes and jars). By 1936, Leichner had added Allcromo, a cream make-up. I do not have a complete list of its available shades but numbers ranged from at least A.108 to A.120.

Above: Leichner Allcromo make-up

In Britain, Allcromo was known as Kamera Klear Cinema Make-up with the term Panchromo being restricted to panchromatic greasepaint sticks which came in I, II, III, IV, V, VI and G shades. By 1938, Kamera Klear was being sold in Britain in the following shades: KK.4 (Ladies’ Blonde), KK.5 (Ladies’ Fair), KK.6 (Ladies’ Brunette), KK.7 (Ladies’ Dark) KK.8 (Gent’s Light), KK.9 (Gent’s Brunette), KK.10 (Gent’s Dark), Sunburn and Indian). It was also available as a liquid make-up sold in small glass bottles (Shades: KK.4, KK.5, KK.6, KK.7, KK.8, KK.9, and Sunburn).

Above: 1938 Leichner Cinema Make-up (Kamera Klear and Panchro).

Kamera Klear Cinema Make-up was complemented with Kamera Klear Powder (Shades: KK.4, KK.5, KK.6, KK.7, KK.8, KK.9, Rose, Brownish, and Rose Gold). For the eyes there was Leichner Eyeshadow (Shades: Cinema Brown (light and Dark), Gray (Light and Dark), Gold Green, Gold Brown, Gold and Silver) and Leichner Cinema Cosmetic (mascara) (Shades: Black and Brown). For lips Leichner supplied Leichner Cinema Lip Rouge (Shades: Cinema Light, Cinema Dark, Cherry, Scarlet, Carmine, Vermillion and Brilliant).

In 1937, Leichner (London) also followed the example set in Berlin and opened a make-up service. Situated in Regent Street it supplied advice to clients on how best to select and use the various forms of Leichner make-up.

Above: 1938 Leichner Make-up and Beauty Service in Regent Street,.

Television

Germany was an early adopter of television and used it to broadcast the 1936 Summer Olympic games in Berlin.

Above: 1936 Television camera at the Berlin Olympics broadcast to viewing rooms around Berlin.

Leichner developed a limited range of make-up for early black and white television in the 1930s consisting of Spotlite Klear Television I, and II, Television Special for Lips, and Kamera Klear Television Powder.

General cosmetics

Leichner added some ancillary beauty lines in the 1920s and 1930s, the most notable being Leichner No. 1001 Das Schlankheitsbad, known in Britain as The Slim Figure Bath. Released in Germany in 1927, it was a bath salt used to help reduce body weight. By 1932, Leichner had added an ankle slimmer, Leichner No. 1002.

Slim Figure Bath Leichner 1001: “Besides restoring your figure to its natural slim lines, Leichner 1001 is an ideal Beauty Bath, since it makes the skin soft and white and removes impurities.”

Another ancillary beauty product introduced in this period was Leichner Beauty Hormones. Available in Germany they were released in Britain in 1931, in boxes of 25 or 50 tablets.

Above: 1933 Leichner Jugend-Hormone.

Leichner Beauty Hormones: “[H]ave the special function of stimulating the formation of new and perfect cellular tissue, which means nothing less than complete rejuvenation of the skin and the outlines of the human body.”

Leichner also expanded its range of general cosmetics during this period. To increase their appeal, the company also modernised its packaging.

Above: New Leichner packaging introduced from 1927.

Leichner also improved its advertising to give its products greater consumer appeal.

Above: 1930 L. Leichner: nicht malen – nur korrigieren (don’t paint – just correct).

Skin-care

Unfortunately, information from Germany is sparse so I will concentrate on developments in Britain. Leichner’s British product list from the beginning of the 1930s only included a limited skin-care range – Leichner Removing Cream, Patti Cold Cream, Leichner Vanishing Cream and Leichner Nose Cream – with most of these products …..

During the 1930s, Leichner (London) made a concerted effort to develop a basic skin-care-system. By 1935, it had added Leichner Astringent Lotion, Day Cream for Greasy Skins, Vitamin Skin Food, and Vitamin Complexion Milk and organised them into a basic skin-care system.

Astringent Lotion: “[A]bsorbs superfluous oiliness and through its antiseptic properties has a rejuvenating action on the pores. There is no drastic action, but a mild and persistent restoration of the pores to their normal condition.” 
Day Cream for Greasy Skins: “[P]revents excessive oiliness, produces a smooth velvety skin surface, and is the best foundation for Rouge and Powder for greasy skins.”
Vitamin Skin Food: “[A] nourishing cream which penetrates and is completely absorbed by the tissues; it revitalises the lower cells and keeps the skin firm, fresh and resilient.” 
Vitamin Complexion Milk: “[S]erves the same function as Vitamin skin Food but is less greasy.; and has a mild but progressively corrective action on the excessively greasy exudation.”

In 1936, two products were added to the range: Leichner Hormone Cream to be used at night, and Leichner Facial Pack, a face mask used to help remove blackheads and other impurities. Used once a week, the Facial Pack was laid on the skin for twenty minutes before being washed off with warm water. Leichner then recommended applying Leichner Astringent Lotion to close the pores.

Hormone Cream: “The regular application of this cream will produce a decided improvement in the appearance of the skin, relaxing tissues will tighten up, lines and wrinkles will be suppressed, and the freshness of the complexion revived.”
Facial Pack: “[D]raws such impurities as blackheads, etc. out of the skin without causing damage to the fine facial tissues and leaves you with a spotlessly clean and radiant complexion.”

Make-up

As might be expected from a company that produced make-up for stage and screen, Leichner had a well-developed general make-up range largely appropriated from its professional offerings.

In 1930, the Leichner (London) range still included Fettpuder, now renamed as Poudre Leichner, with Leichner adding a lighter version, Poudre ‘Invisible’.

Poudre Leichner: “A fragrant face powder that clings . . . an opalescent bloom that lends a new radiance to the complexion—cleverly shaded to add interest to the natural colouring. Constant use … visibly refines the texture of the skin—leaving it free from blemish.“ Shades: Naturelle, Rachel, Brownish, Apricot and Ocre.
Poudre Leichner Invisible: “[A] powder of superfine texture made for fine skins. … It imparts the smooth matt finish and exquisite beauty of a perfect complexion.” Shades: Blonde, Rachel, Apricot-Peach and Brownish.

Leichner powders were applied with a large puff over a skin cream or foundation, either Patti Cold Cream, Leichner Vanishing Cream, Creme Coloree, or Creme Email.

Leichner Creme Coloree was a tinted version of the Leichner Vanishing Cream and was a replacement, or rename, of the older Aspasia Cream. Like the Aspasia Cream it only came in tubes. Creme Email was a denser formulation originally suggested for evening wear. Produced in a range of shades it was later recommended as an all-purpose foundation that provided good coverage.

Creme Email: “[A] soft, protective, non-greasy cream which gives and absolutely smooth and flawless skin surface and is delightful to touch. It conceals blemishes and imperfections, is beneficial to the skin, does not clog pores, and is an entirely new foundation for rouge and powder.” Shades: Blonde, Rachel, Apricot-Peach and Brownish.

Other make-up items included cream and powdered rouges, liquid and block mascaras, eyeshadows, eyeliners, lipsticks and lip pencils. Leichner also developed a Nail Varnish in four shades.

Colour coordination

The shade ranges sizes for the different forms of Leichner make-up varied wildly. For example, Leichner rouges could be found in up to twenty shades by 1935 (including No. 12, Rose Marie, Mandarine, Mandarine Rose, Rose Bebe, Corail, Carmine Light, Carmine Dark, Carmine Extra Dark, Brunette 1, Brunette II, Brunette III, St. Moritz, Framboise, Orange, Riviera, Rose Petunia, and Strawberry), but Leichner lipsticks only came in five shades (Cherry, Orange, Light, Dark, and Extra Dark).

Colours were meant to be coordinated selected according to whether a woman was one of two broad skin colour types – Fair or Dark – combined with her hair colour.

Above: c.1934 Leichner colour coordination chart for Light and Dark skin types and a range of hair shades.

Towards the end of the decade, Leichner (London) added a Liquid Cream Foundation in four shades. Its appearance, formulation and shade range suggests that it may have been a general consumer version of Kamera Klear.

Liquid Cream Foundation: “[C]ool—soothing, and makes the skin feel like silk. Being neither dry or greasy, it can be used with equal success on every type of skin. A little should be massaged into the skin until absorbed, then make-up and powder applied in the usual way.” Shades: Blonde-Fair, Blonde-Dark, Brunette-Fair, Brunette-Dark.

Leichner Cosmetic System

In the interwar period, Leichner made a concerted effort to integrate its skin-care and make-up ranges. In Britain this was promoted as the Leichner Cosmetic System. It began with a thorough skin cleansing using creams and lotions rather than soap and water followed by an astringent with the emphasis on clearing, then closing, the skin pores.

Use Leichner Removing Cream (Cleansing Cream). This is an emollient, liquefying cream, made without water, and is not absorbed by the skin tissues. It has special detergent properties and takes every foreign particle off the skin and out of the pores. Leichner Removing Cream should be applied all over the skin surface and wiped off with Leichner Cleansing Tissues or a soft towel. The whole skin surface and the pores will then be absolutely clean, but a thin greasy film remains, which should be removed by applying:
Leichner Cleansing Lotion. This lotion is a most important innovation and its value for the preservation of the natural freshness of the skin cannot be overestimated. It is very cooling and refreshing, and restores the skin to its normal condition by its mild and persistent astringent action; distending pores close up and any tendency to relaxation is corrected in a natural way.

(‘The Leichner cosmetic system,’ c.1932, p. 2)

The Leichner Removing Cream may have been a type of liquifying cream which would leave an oily residue that needed removing with the Cleansing Lotion. After 1935, Leichner Cleansing Lotion was replaced with, or renamed as, Leichner Astringent 

Cleansing was followed with a skin food, either Patti Cold Cream, Vitamin Skin Food or Vitamin Complexion Milk.

Leichner Patti Cold Cream is most suitable in the majority of cases. It is a sterilised skin food—a true skin tonic—as it penetrates into the lower skin layers and the supporting tissues, particularly when applied with gentle massage. The effect of this penetration is to maintain or reinstate the natural conditions. The tissues are toned up from within outwards; if they are under-nourished or drawn the contour is restored; any tendency to relaxation or enlargement of pores is corrected. The surface effect is very marked. If the skin happens to be dry, Leichner Patti Cold Cream supplements the deficiency of secretion; the whole of the skin rapidly becomes resilient and velvety to the touch and the formation of lines and wrinkles is avoided. Leichner Patti Cold Cream should be applied at night, and in the morning before applying any make-up.
When the skin tends to become inert and dull, or to sag, Leichner Vitamin Skin Food will be found preferable as it is a more active skin food and has a definitely astringent effect, needful in such cases. It revitalises and strengthens both the skin and the underlying tissues, and contains ingredients which stimulate cellular reconstruction. This skin food should be applied at night and well rubbed into the skin.
If the skin is distinctly greasy, the use of Leichner Vitamin Complexion Milk is specially recommended. It serves exactly the same purpose as the Vitamin Skin Food, but is less greasy, and has a mild but progressively corrective action on the excessive greasy exudation.

(‘The Leichner cosmetic system,’ c.1932, pp. 2-3)

By the 1930s, few companies were suggesting using a cold cream as a skin food without including a ‘nutrient’ such as lanolin. Vitamins, on the other hand, were considered to be beneficial and many cosmetic companies added them to skin creams in the 1930s.

During the day a skin food could be replaced with one or other of the Leichner foundations or surface creams – Leichner Vanishing Cream, Creme Coloree, or Creme Email with Leichner Nose Cream used to reduced redness.

Leichner Vanishing Cream for softening the outer skin layer serves as a foundation cream for powder and is most refreshingly perfumed.
Leichner Creme Coloree is delicately tinted vanishing cream, supplied in the same shades as Poudres Leichnerand will again be found very suitable as a basis for powder. Applied to the hands, it effectively suppresses any appearance of redness and makes the hands look soft, smooth and well cared for.
Leichner Creme Email (Enamel Cream) is a special foundation cream, prepared for evening make-up. In addition to its tonic properties, it ensures the appearance of an absolutely perfect skin surface, which remains unaltered after the application of Leichner Evening Powder.
Leichner Nose Cream is applied as a corrective of a noticeably red nose. It is an excellent powder basis and definitely suppresses the much disliked shiny nose appearance.

(‘The Leichner cosmetic system,’ c.1932, p. 3)

As mentioned earlier, Leichner introduced another foundation, Leichner Liquid Cream Foundation, later in the decade. Women would select a foundation depending on how much covering power was needed and whether added colour was preferred. After the foundation, powder, rouge, lipstick and eye make-up 

War

In 1936, Leichner celebrated the 100th anniversary of the birth of the company founder.

Above: 1936 Leichner celebrations of the birth of its founder, Johann Ludwig Leichner [1836-1912] at Schützenstrasse 31 in Berlin.

Unfortunately, war followed a few years later. It would have a devastating effect on the German operations with the building at Schützenstrasse 31, Berlin destroyed by allied bombing in 1945. Leichner (London) faired better. Promoting itself as British, it avoided closure and remained in operation right through the war.

Timeline

1913 Leichner Fettpuder distributed by Graf Brothers (United States).

See photos & Read Above to Decide Please 

I combine shipping just ask  Please** I have over 1,600'Vanity Items Listed & 1,000s more to go Follow Me as the Items Unfold I live in Daytona Beach Shores Florida Average Age is 65 it’s Fondly Called Gods Waiting Room Tons More to List a Million More to Find & Explore Great Vanity items for the Collector or for Period Era Movie Prop

Max Factor the Competition! A Little of Max’s  History Below 

The introduction of panchromatic film and Inclandesent Lighting on movie sets in the 1920s eventually made it possible to standardize the film, lighting, and colours of makeup that were most effective for motion pictures. The Society of Motion Picture Engineers conducted a special series of tests for this purpose in 1928. As a result of these experiments, Factor created a new line of compatible makeup colours called panchromatic makeup, an achievement for which he won a special Academy of Motion Picture Arts and Sciences Award.

 MAKEUP ARTISTS ACTRESSES FACE POWDER TIN American Society of Cinematographers listing is for Amazing Antique Tin with Contents weighs 4.9 ozs in Tin Net Weight before Being filled was 4 ozs so it contains lots of Pink Face Powder No 2  Max Factor's Supreme Max Factor's professional theatrical line Face Powder Contents Super Display Piece for COLLECTORS MAKEUP ARTISTS & MOVIE PROPS

Its very rare almost impossible to find. (From Max Factor's professional theatrical line) The Stories this Tin could tell if it Could Talk 

for Stage & Screen I really don’t want to test it & Tear the Label Reads Max Factors Theatrical Face Powder No 2  Max Factor Co Hollywood California Made in USA 4 ozs Label is in Really Great Shape for Age (over 100 Years)  & NOT for Use For Display Only Not for UseSelling as a Collectible 

 I was lucky enough to purchase a nice group of theater make-up and will be & have been listing several items as I find them Some have Already Been Listed & Sold but I’m hoping to Find a Little More

OWN A Piece of EARLY MOVIE HISTORY Rarely found today. Make it one of your The Tin dates to the EARLY MAX FACTOR years Container has original graphics in red and black with white lettering the lid pops on and off It is a classic tin still in very collectible condition.

A Little History

After immigrating to the United States in 1904 Max Factor moved his family and business to Los Angeles, California, seeing an opportunity to provide made-to-order wigs and theatrical make-up to the growing film industry. Besides selling his own make-up products he soon became the West Coast distributor of both Leichner and Minor, two leading theatrical make-up manufacturers. During the early years of movie-making, greasepaint in stick form, although the accepted make-up for use on the stage, could not be applied thinly enough, nor where did colors work satisfactorily on the screen. Factor began experimenting with various compounds in an effort to develop a suitable make-up for the new film medium. By 1914 he had perfected the first cosmetic specifically created for motion picture use — a thinner greasepaint in cream form, packaged in a jar, and created in 12 precisely-graduated shades. Unlike theatrical cosmetics, it would not crack or cake. 

See photos & Read Above to Decide Please 

I combine shipping just ask  Please** I have over 1,600'Vanity Items Listed & 1,000s more to go Follow Me as the Items Unfold I live in Daytona Beach Shores Florida Average Age is 65 it’s Fondly Called Gods Waiting Room Tons More to List a Million More to Find & Explore Great Vanity items for the Collector or for Period Era Movie Prop

Specializing in ANTIQUE & VINTAGE VANITY ACCESSORIES & MORE

LITERALLY WHO KNOWS WHAT I HAVE !

IVE NAMED A FEW BELOW 

*LIPSTICKS 

Estée Lauder… Luziers…REVLON…Don Juan… CUTEX … L’Oréal of Paris…MAX FACTOR… BONNE BELL… JONTEEL… PRINCESS PAT … Martha Matilda Harper Method… CLAIROL…COISMAR …Lamus King…Naylon… TANGEE… ELIZABETH ARDEN…. Andrew Jergens… LANCÔME …TATTOO…SAVAGE… Park & Tilford… MARY SCOTT ROWLAND… LASHBRITE …OUTDOOR GIRL… ELIZABETH POST… FABERGE.. KISS O LOVE ..HELENE HUGHES … Armand … Dorothy Perkins… PONDS…  KISSPROOF … MARY DUNHILL … RALPH LAUREN … CASHMERE BOUQUET… 

Clinique .. MOUSON … PLAY BOY … STORK CLUB … HELEN NEUSHAEFER … 

Stratton … HENRY ROSENFELD … COTY… ROGER & GALLET … Bourjois Ashes of Roses … Evening in Paris… LOUIS PHILIPPE… HOUBIGANT …SOLITAIR … SCHILDKRAUT…RICHARD HUDNUT…MICHEL…DURA GLOSS…HIGH FASHION..LENTHERIC…MAURICE RENTNER…HELENE CURTIS… HELENA RUBINSTEIN…Avon…DOROTHY GRAY…PEGGY SAGE…NORELL… IRRESISTIBLE…VIZ-ZAN-DE … Rejuvia…Jean La Salle…YARDLEY… HAMPDEN…SHISEIDO… CLARINS… REDKIN… UDEANH UDEANV…Merle Norman…CHEN YU… SO-FISTIK…Austin Greene… CHERAMY … DOUCETTE … Harriet Hubbard Ayer…. SCANDIA… Limoges…. Gaile … Jenesse…HOLIDAY MAGIC… Borghese… Dorane … GUERLAIN…POSNER… 

Fenwicke ..ANDRE Chenier…WOODBURY…BOOTS…BOYERS… TOMBURG… Goubaud … Lavin … Charles of the Ritz … CUTEX …Monica Simone … ADRIENNE INDELO … MONA MANET… La Valliere … JOHN ROBERT POWERS… PRICILLA PARKER…CINER…TOM FIELDS… LADY HUDSON… LUCIEN LELONG… ATOMETTE…Germaine Monteil…CONDE…WOODWORTH…FULLER BRUSH… KHASANA DR ALBERSHEIM … CARREL .. L T Piver …CHAMBLY … CONDE …ULTIMA II … Lady Catherine … Sara St. James … BOURJOIS …LADY ESTHER … FLORESS …MAYBELLINE … Pompiean… HASTINGS ON THE HUDSON … Vivian Woodard … Anatole  Robbins … DUBARRY … Henry …

Glamorette …CARA NOME … NUTRITION METRICS …Dorane … CORT … CLAIRE WALTERS …LENEL … & NOVELTY LIPSTICKS

*MANICURE ITEMS 

CUTEX GLAZO PEGGY SAGE CALIFORNIA PERFUME COMPANY CPC LA CROSS

*PERFUME 

CHANEL NINA RICCI PRINCE MATCHABELLI MONTELL NORELL COTY

 COLGATE & CO SEVENTEEN CHRISTIAN DIOR 

*BLACK AMERICANA COSMETICS ITEMS HAIR CARE JARS & TINS 

MURRAYS HAIR GLO FROM MEMPHIS CHICAGO & ATLANTA

*POWDER & ROUGE COMPACTS 

TUSSY STRATTON DUCETTE ARMAND AIRSPUN COTY KISSPROOF SAVAGE 

*TINS 

PRINCESS PAT

*POWDER BOXES 

*ROUGE POTS 

 * Mascara CAKE …  LIQUID … Wet POT …. METAL BRUSH & More

Helena Rubinstein …  Max Factor … Maybelline … Beauty Counselor … Clairol …. REVLON … TATTOO …  Vaseline …. Queen Helena … Moon Drops … Colonial Dames … COTY … Steins … Doucette …. Dubarry …. Rex all … WINX … Avon 

Mary Quaint …  LASH Brite …. Lash Kote

*EYE SHADOW CAKE TUBE & WET 

MAYBELLINE REVLON MAX FACTOR COTY 

*GRAB BAG LOTS 

LIPSTICK

MAKEUP

THEATRICAL STEINS MAX FACTOR DUBARRY RICHARD HUDNUT 

Dusting powder Talc Talc & Sachet Most Perfumed & More 

VIGNY … LANVIN ARPEGE ….YARDLEY OF LONDON…. HEAVEN SENT HELENA RUBINSTEIN…ROGER & GALLET … PRINCE MATCHABELLI…TUSSY ..

GUY LAROCHE … LENTHERIC ..RAPHAEL PARIS …APRIL SHOWERS… WHITE SHOULDERS… POND'S & MORE 

ELIZABETH ARDEN …OLD SPICE SHULTON …CASHMERE BOUQUET TALCUM…MAC GREGOR-MEN'S-TALC… KERKOFF DJER-KISS TALCUM…

AVON  POWDER SACHET BOTTLE … MENNEN BABY POWDER