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Lot Essay
Cf. Palais Galliera, "Van Cleef & Arpels", Diffusion Paris-Musées, 1992, page 139, illustration 49
Consistently at the forefront of innovative creation in this period, Van Cleef & Arpels first introduced their signature "Ludo" bracelet in 1934, under the supervision of Renè Puissant, Alfred Van Cleef's daughter. Artistic director of the company from 1926 - 1942, she collaborated closely with the talented designer Renè-Sim Lacaze, and together this team was to exercise a great influence over the style of creations made between the two World Wars. Successful since its inception, the "Ludo" model went on to become one of the quintessential hallmarks of post-war production.
The best known version consisted of a mosaic arrangement of articulated hexagons in polished metal, referred to as the "à ruche" or "beehive" pattern, with a precious stone at the centre of each plaque in a "serti étoile" or star setting. A central, raised motif was another typical feature: impressive models incorporated a three-dimensional half-cylinder in high relief, termed "à pont", literally "decked" or paved with precious stones. To find an example such as this, in which the precious metal used is white as opposed to yellow gold - the ubiquitous metal of the 1940s - is unusual.
Consistently at the forefront of innovative creation in this period, Van Cleef & Arpels first introduced their signature "Ludo" bracelet in 1934, under the supervision of Renè Puissant, Alfred Van Cleef's daughter. Artistic director of the company from 1926 - 1942, she collaborated closely with the talented designer Renè-Sim Lacaze, and together this team was to exercise a great influence over the style of creations made between the two World Wars. Successful since its inception, the "Ludo" model went on to become one of the quintessential hallmarks of post-war production.
The best known version consisted of a mosaic arrangement of articulated hexagons in polished metal, referred to as the "à ruche" or "beehive" pattern, with a precious stone at the centre of each plaque in a "serti étoile" or star setting. A central, raised motif was another typical feature: impressive models incorporated a three-dimensional half-cylinder in high relief, termed "à pont", literally "decked" or paved with precious stones. To find an example such as this, in which the precious metal used is white as opposed to yellow gold - the ubiquitous metal of the 1940s - is unusual.