拍品專文
Recovered from the wreck of Nuestra Señora de Atocha in 1982
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PROPERTY FROM THE COLLECTION OF HELENE ARPELS
Hélène Arpels was a very special person, an extraordinary figure, which one would hope to cross in the path of one's life. I first met Hélène Arpels and her companion, André Azria when I moved to the United States in 1976 to open with several colleagues a Christie's New York salesroom. We met during a public viewing at the Delmonico Hotel and I will always remember how captivating she was-her charm, grace and elegant style. Being in a foreign country, far from home, Hélène and I would speak French and talk about Paris and places that I had known.
Hélène had an elegant boutique of high-end dress shoes and accessories on 665 Madison Avenue that André, an important businessman, helped manage. My wife and I often visited them at the shop on Saturdays, whose elegant atmosphere gave occasion not only to converse in French but also to reminiscence about the golden years in Paris and New York. As an intimate member of the Van Cleef & Arpels' family and passionate collector of the jewelry house, Hélène and I would enjoy recollecting the tremendous efforts of the Arpels brothers, Charles, Julien and Louis, her former husband, whose supreme skills and dynamic combination of salesmanship, astuteness and savoir-faire, culminated into one of the world's most famous names in jewelry. We would speak of a time when the French ateliers would be in a constant flurry of activity providing the international jet-set, the European aristocracy and the American industrialists with their elegant wardrobes and jewels, each vying for the devotion of their prestigious clientele.
André Azria and I also shared a confidence and I held tremendous respect for him. Having moved from Tunisia to the United States in the 1950's, André had a unique perspective of the world and we spent many an hour discussing business, life in general, and French and American politics. He had a great interest in jewelry and he would seek my advice and opinion on pieces available in the market, and which exceptional jewel would befit a doyenne of elegance and taste. His devotion was unwavering and his enthusiasm constant. Before buying in an auction, he was always adamant to know whether a piece of jewelry came from a member of the trade or from a private collector. Since I couldn't answer this question, I would respond with a smile and talk about the merits of the jewel instead. In the end, his choice was always exceptional. As a way of helping me in the jewelry department, he would insist on displaying the Christie's jewelry catalogues in the window of the boutique, which had moved to 470 Park Avenue. Although our competitors requested the same gesture of André, Christie's was to remain the only name to grace their display.
Deeply saddened by André's passing in 2001 and Hélène's in 2006, I will remember fondly our avid discussions of a golden age not forgotten and observing from behind the rostrum a familiar face bidding in the salesroom. Offering this collection at auction is an honor and a tribute to both Hélène Arpels and André Azria.
François Curiel
December 2006
An Icon of Chic and Style: A Tribute to Helene Arpels
The Twentieth Century produced many fashion icons that defined the ultimate in style and grace. Perhaps those who come immediate to mind are the Duchess of Windsor or Jacqueline Kennedy Onassis. However, equally praised, on both sides of the Atlantic as "the quintessence of French elegance", was the ultra chic and striking Parisian socialite Hélène Arpels.
Born in Monte Carlo to Russian parents, Hélène Arpels, née Ostrowska, was acknowledged in France as the most distinguished woman in the world, an unprecedented honor in the history of France, and was considered the leader of the Café Society in Paris. In America, she made headlines by gracing the world's "10 Best-Dressed List", first in 1949, and continued to do so for ten years. She was a close confidante to many prestigious international elite, including Rose Kennedy, Gloria Guinness and the Begum Aga Khan, among many others. She was also a frequent guest of the White House during the Kennedy and Reagan administrations.
In 1933 she married Louis Arpels, the son of Estelle and Leon Arpels, a famous precious stone dealer in Paris. In 1906 Louis left his father's company to join the family firm Van Cleef & Arpels, which had been created by his mother Estelle and her cousin Alfred Van Cleef. Monsieur Louis, as he was generally referred to by both the celebrated and the wealthy, established the New York branch of the house in 1940. He was described as an incredible salesman who was not only handsome and beautifully dressed but also had a great sense of humor and impeccable taste. Their move to America only increased Hélène Arpels' social calendar as she spent half her time in New York and half in Paris, and Louis Arpels' fame was heightened by his handsome wife, who was a favorite of the social columns.
Whether walking down 5th Avenue in New York or strolling along the Champs Elysées in Paris, Hélène Arpels caused many to gaze at her dashing physique and impeccable style. Her outfits, referred to by her as "costumes", defined simple elegance, and particularly in evening, served as a backdrop to her exquisite jewels. During the day, she might be seen in a black brushed felt profile hat, trimmed with a simple green grosgrain ribbon and complimented with a pair of grey pearl and diamond earrings, or perhaps, wearing a Chanel-inspired chemise dress worn with her "basic" diamond necklace. In the evening, she might enjoy a slim-fitting black crepe, aglow with diamond and emeralds. She even liked to even wear diamonds on her shoes. "After all," she said, "diamonds go with everything."
Her philosophy was to dress for oneself, not for fashion. She believed that each woman needed to find her own style and wear it not because of the magazines, but because it is her own personal way of dressing. She also believed that not one adornment should dominate the "costume" but rather a woman should be an ensemble, creating an overall impression of chic. Most importantly, she always was modern and feminine, a basic Arpels' credo.
For herself, she most often commissioned custom-made French clothes that underlined her individuality, and was an inspiration for such couturiers as Jacques Griffe and Castillo, who made for her beautiful daytime coats and magnificent evening dresses, often dark in color, for which she added a fabulous jewel.
Hélène Arpels was also famous for her unique way of wearing her exceptional jewelry, which consisted of notable signed pieces, such as a charming pair of ruby and diamond flower ear clips by Cartier, and quintessential examples made by Van Cleef & Arpels. One of her favorite pieces from the house was a set of diamond "Flame" brooches, first introduced in 1934. She wore these often and in patterns which she devised, such as positioning three in a row on the shoulder of a Christian Dior lightweight black woolen dress or in a column at the back of her hair at night. A frequent piece she wore with her winter suits was a large diamond flower brooch, whose stylized pavé-set diamond petals radiated brilliance. Hélène Arpels was pictured wearing a stunning and large diamond double-clip ribbon brooch pinned to a collar close to the neck, or for dramatic effect, at the bottom of a deep neckline gown. Together with the ribbon brooch, she would dazzle the eye with a rare diamond and platinum "Ludo Hexagone" bracelet, a metal not typically used in this prominent Van Cleef & Arpels design. As someone who appreciated the importance of the handbag as part of her ensemble, Hélène Arpels had a remarkable collection of gold evening bags, including a large selection of the house's signature "Marguerites" accessories.
Hélène Arpels was also incredibly talented and always designed her own shoes. Wanting to occupy more of her time and upon the advice of a friend, she opened a high-end shoe store at the St. Regis Hotel in New York in 1960, which she named Aliata after her Italian friend Princess Aliata. Later she moved to 665 Madison Avenue and then to 470 Park Avenue, and in 1970, changed the name to Hélène Arpels. Jacqueline Kennedy Onassis, whom Arpels helped introduce to Christian Dior and other Parisian couturiers, was a steady visitor to the store, which also became a frequent stop before and after a lunch rendezvous. Hélène Arpels relished the experience and referred to her European-styled shop as "her little toy."
Whether the centerpiece of the social pages, imparting fashion wisdom, adding to her famed jewelry collection, designing shoes, or advising a client at her store, Hélène Arpels was undoubtedly a dynamic and successful 20th century figure who epitomized the meaning of chic.
A 23½K GOLD BAR
細節
A 23½K GOLD BAR
Oblong, one end with scratched karat mark XXIII and two dots (= ½), the other end scratched 149, 4 7/8 ins., 686.7 grams, 441.6 dwt
Accompanied by a certificate of authenticity certifying that the artifact here described was recovered from the sunken Spanish Galleon. NUESTRA SENORA de ATOCHA, by Treasure Salvors, Inc.
Oblong, one end with scratched karat mark XXIII and two dots (= ½), the other end scratched 149, 4 7/8 ins., 686.7 grams, 441.6 dwt
Accompanied by a certificate of authenticity certifying that the artifact here described was recovered from the sunken Spanish Galleon. NUESTRA SENORA de ATOCHA, by Treasure Salvors, Inc.
來源
Christie's New York, "Gold and Silver of the Atocha and Santa Margarita", 14 & 15 June 1988, lot 100
拍場告示
Please note that the illustration for lots 291 and 292 have been misnumbered.