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Purse, 1926
Platinum, yellow gold, rubies, enamel, silk, and diamonds
Van Cleef & Arpels Collection
Purse, 1926
Platinum, yellow gold, rubies, enamel, silk, and diamonds
Van Cleef & Arpels Collection
1926

Purse

This piece is one of the rare examples produced by Van Cleef & Arpels of a purse featuring a figurative clasp. In addition to the polychrome arabesques embroidered on the purse’s fabric, the piece stands out for the originality of its metallic clasp.

It is composed of a female figure drawn from antiquity, sculpted in yellow gold. She is shown clad in an open- work loincloth with a headdress set with brilliants and calibrated rubies, stretched out on a bench of yellow gold decorated with a frieze of flowers and an interlaced design. A metallic border—in green enamel that blends with the color of the silk fabric—is used to open and close the purse. It is decorated with festoons, each with three circular orange enamel motifs, outlined by a row of alternating brilliants and black enamel. Two metal loops link the metal hinges to a cord forming the purse’s handle.

The production of clasps

Between 1925 and 1927, the Maison produced over forty purse clasps decorated with subjects in stone and engraved metal, all richly colored thanks to the use of enamel. The iconographic repertory chosen for these clasps drew heavily on Middle Eastern art: ancient figurines, Persian subjects, and even numerous “Buddha studs.”

BAGS CLASPS

BAGS CLASPS

Purse, 1926. Yellow gold, lapis lazuli, enamel, silk, and diamonds, 150 × 150 mm.

Purse, 1926. Platinum, onyx, silk, and diamonds, 240 × 175 mm.

Purse, 1926. Platinum, yellow gold, chrysoprase, enamel, velvet, and diamonds, 135 × 140 mm.

Purse, 1927. Platinum, yellow gold, rock crystal, enamel, leather, and diamonds, 140 × 220 mm.

Purse, 1928. Platinum, yellow gold, turquoise, silk, and diamonds, 500 × 350 mm.

Purse, 1928. Platinum, yellow gold, rose gold, rock crystal, enamel, silk, and diamonds, 175 × 170 mm.

The enduring influence of Orientalism in the 1920s

The semi-naked state, stretched-out posture, and “Oriental” sartorial attributes of the figure adorning this purse evoke an odalisque, a presence glorified by nineteenth-century painters. The odalisque originally designated the slave of a concubine or of the wife of an Ottoman sultan and appeared in the scènes galantes of eighteenth-century paintings before becoming an important artistic subject in the following century. At the start of the second decade of the twentieth century, a new form of Orientalism burgeoned in the fashion arts and continued into the following decade, as witnessed by this purse.

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