would run the business while Karinska worked in Hollywood. Under this arrangement she won her Oscar for Joan of Arc and her Oscar nomination for Hans Christian Andersen. These were the “Golden Years”. The label “KARINSKA Stage and Art Inc.” was sewn into costumes for ice shows, musicals, legitimate theater, motion pictures, lyric opera and the most important for the 'Lady from Kharkiv' – Ballet. At the end of the German occupation of Paris, Irène Karinska reopened her costume atelier and worked successfully until retirement in the 1970s. Due to the fact that Irène's work was often credited as "Costumes par Karinska", researchers have credited much of her work to her mother. Costume design of the 1953 French film adaptation of La Dame aux Camélias was credited to Barbara Karinska when, in fact, the costumes were designed by Rosine Delamere and executed by Irène Karinska. Costumes designed by Raoul Dufy, Georges Braque, Leonor Fini, and Yves St Laurent (for Roland Petit) are the work of Irène Karinska. Costumes for the 1958 Oscar-winning musical Gigi, designed by Cecil Beaton were executed by Irène Karinska. The last costumes executed by Stage & Art Inc. were for Franco Zeffirelli's production of Verdi's Falstaff, that debuted March 6, 1964— one of the last productions at the Old Metropolitan Opera House. Karinska had signed a contract with the Ford Foundation to operate the New York City Ballet's new costume shop. In April 1964 Karinska sold Stage and Art's physical plant to Vlady for one US Dollar. Half the staff chose to stay with Vlady in his new business Lawrence Vlady, Inc. and half went with Karinska to her new atelier first located at 10 W. 57th St. Vlady continued their commitment to the Metropolitan Opera executing a share of the 1964 Lucia di Lammermoor by Donizetti designed by Atilio Colonello. Next came two back short-lived period costume musicals designed by Motley—Ben Franklin in Paris 1964, and Baker Street 1965. He then executed all the masks and armor for Balanchine's 1965 Don Quixote. His career looked promising, however, advanced Macular Degeneration rendered him unable to read costume sketches and he retired following his share of costumes for the Met's 1966 Cleopatra by Samuel Barber and Franco Zeffirelli. New York City Ballet In 1964 Karinska was invited by Balanchine to join the New York City Ballet at the New York State Theater at Lincoln Center, newly injected