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Color and Ingenuity: The Collection of Lucille Coleman
VAN CLEEF & ARPELS PAIR OF DIAMOND 'FLAME' BROOCHES
細節
VAN CLEEF & ARPELS PAIR OF DIAMOND 'FLAME' BROOCHES
Round, baguette and tapered baguette-cut diamonds, platinum and 18k white gold (French marks), circa 1950, signed Van Cleef & Arpels, numbered
Size/Dimensions: each 7.9 x 1.9 cm (3 1⁄8 x ¾ in)
Gross Weight: 26.6 grams
Round, baguette and tapered baguette-cut diamonds, platinum and 18k white gold (French marks), circa 1950, signed Van Cleef & Arpels, numbered
Size/Dimensions: each 7.9 x 1.9 cm (3 1⁄8 x ¾ in)
Gross Weight: 26.6 grams
出版
Cf. É. Possémé, Van Cleef & Arpels: When Elegance Meets Art, Paris, Les Arts Décoratifs, 2018, p. 89
Cf. É. Possémé, Van Cleef & Arpels: The Art of High Jewelry, Paris, Les Arts Décoratifs, 2012, p. 89
Cf. S. Coffin, Set in Style: The Jewelry of Van Cleef & Arpels, New York, Cooper-Hewitt, National Design Museum, 2011, p. 265
Cf. M. Petit, Van Cleef & Arpels: Reflections of Eternity, Paris, Éditions Cercle D'Art, 2006, p. 124 - 125
Cf. L. Couvreur-Schiffer, F. Falleul, M. Lary, Van Cleef & Arpels, Paris, Palais Galliéra, Diffusion Paris-Musées, 1992, p. 154, pl. 241
Cf. É. Possémé, Van Cleef & Arpels: The Art of High Jewelry, Paris, Les Arts Décoratifs, 2012, p. 89
Cf. S. Coffin, Set in Style: The Jewelry of Van Cleef & Arpels, New York, Cooper-Hewitt, National Design Museum, 2011, p. 265
Cf. M. Petit, Van Cleef & Arpels: Reflections of Eternity, Paris, Éditions Cercle D'Art, 2006, p. 124 - 125
Cf. L. Couvreur-Schiffer, F. Falleul, M. Lary, Van Cleef & Arpels, Paris, Palais Galliéra, Diffusion Paris-Musées, 1992, p. 154, pl. 241
更多詳情
First released in 1934, Van Cleef & Arpels’ ‘Flamme’ (‘Flame’) brooch is an often referenced early example of the house’s now signature transformable jewelry. Motivated by the economic conditions of the time, designers utilized modernism’s simplified forms to develop jewels that would suit a variety of wear. Frequently worn as a pair, the ‘Flame’ brooches’ addition would elevate clothing, hats, hair and, after later style evolutions, necklaces.
Perhaps the best example of the ‘Flame’ brooches’ transformable nature can be found in the styles of Jacqueline Kennedy. The First Lady wore her brooches repeatedly, either adorning her multi-strand pearl necklace, pinned to jacket lapels or dresses, and, most famously, accenting her coiffure during a dinner given by President and Madame de Gaulle at Versailles on June 1, 1961.
The popularity of the flame motif continued throughout the 20th century with multiple variations produced, some released under the model name ‘Haricot’. A success in modern design principles, it is the sleek line, monochrome color composition and interesting textural contrast between the round and baguette diamonds that ensure these brooches’ lasting presence in style.
Perhaps the best example of the ‘Flame’ brooches’ transformable nature can be found in the styles of Jacqueline Kennedy. The First Lady wore her brooches repeatedly, either adorning her multi-strand pearl necklace, pinned to jacket lapels or dresses, and, most famously, accenting her coiffure during a dinner given by President and Madame de Gaulle at Versailles on June 1, 1961.
The popularity of the flame motif continued throughout the 20th century with multiple variations produced, some released under the model name ‘Haricot’. A success in modern design principles, it is the sleek line, monochrome color composition and interesting textural contrast between the round and baguette diamonds that ensure these brooches’ lasting presence in style.
榮譽呈獻
Rahul Kadakia
International Head of Jewellery