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Gender feminine masculine "Zoulou" folding coin purse Hermès - Paris introduced in 1935 6,8 cm Zoulou coin purse 1935 . 1st edition Listed in "Les suggestion d' Hermès" 1935 Finding this never-before-used accessory gave me great pleasure. A real trophy! canteen for bag Hermès - Paris circa 1950 Box calf Chromed brass Cantine folding corkscrew knife signature Hermès-Paris Ravinet d'Enfert folding ashtray for bag Hermès - Paris Silver Minerve Closed position in cover H X-shaped opening by pressing a flat cuff links and case Hermès - Paris circa 1925 18K gold on pigskin-wrapped skid Signature on leather Gold hallmark (eagle head) Master hallmark extra-flat case for lorgnon Hermès - Paris Circa 1950 extra-flat case for lorgnon Lizard skin, doblis calf lining Lorgnon gold mount in case magnifying glass in its extra-flat case Hermès-Paris Model introduced in 1957 Goldsmith Ravinet-d'Enfert Bibliography Suggestions Hermès N°213 1957 Signature Hallmarks Silver case Lizard skin lined with goatskin Convex magnifying glass Signature à l'intérieur de l'étui "poker d'as" in case Hermes 24 Fg St Honoré Paris 1923 Signature Crocodile skin case with goat lining Engraved ivory dice Case and ( dice Case with snap closure leather-wrapped lighter Hermès Paris c1925 Lighter made by The Beney Lighter London for Hermès Ht 6 cm Signatures under the seat Detail of the furnace Catalogue H 1929 Silver-plated brass Lambskin-covered brass cigarette lighter Hermès Paris Circa 1950 Signature on cigarette lighter and case Cigarette lighter 18 K gold Horn Pigskin case Goatskin lining cigarette lighter Hermès Paris numéroté Tuya root Scottish cigarette case Hermès Paris 1963 Numbered case Silver (Minerve) Hallmark Gilt push-button Surface chased with a tartan motif 10.5 cm long, 9 cm wide Case sheathed in doblis calfskin Satin/velvet interior Silver Bibliography : Suggestions H n°436 1963 "flat" cigarette case Hermès Paris Circa 1936 Box-calf sheath Gilt push-piece Silver and Master hallmarks Interior with wedge strip Ravinet d'Enfert is a French silverware brand, founded in 1891 by Louis Ravinet and Charles d'Enfert. In the 1950s, Ravinet and Enfert began making the 1st pieces of silverware for Hermès. In solid silver or silver-plated brass, the metal is finely chased, particularly for shaped pieces requiring assembly. They can be identified by the master hallmark stamped next to the load hallmark and the Hermès signature. Master stamp on silverware nurse bracelet Hermès 1939 Argent Plaque gravé au nom de Christiane Coty signée Hermès au revers Bibliographique Catalogue Suggestions H 1939 The 11th garrison of Gap's Bataillons de Chasseurs Alpins took part in the Second World War. The BCA is a mountain infantry unit of the French Army. Christiane Coty could have been one of the personnel attached to this battalion (infirmary, secretariat, signals, etc.). pocket photo holder Hermès - Paris 1960 Mounted on a pedestal forming a seal Hinged opening Height 6 cm Silver (Minerve) Bevelled glass "passant" double-sidede mirror Hermès-Paris Introduced in 1961 Silver vermeil (Minerve) Guilloché decoration Mirror Goldsmith Ravinet d'Enfert Ht 10 cm Bibliographie Suggestions n° 135 année 1961 et 1983 Signature Poinçon Minerve et poinçon Orfèvre pillbox "raquette de tennis" Hermès - Paris 1945 Silver metal Mesh included in glass Side pivot lid Length 9cm Slice view Signature on reverse cigarette lighter Hermès 1925 Box Hermès Black lacquer Green enamel ring 18K gold setting with Hermès signature L. 13,5 cm Signature cigare case c1950 Hermès Paris figures JF Wrapped in a skin of sorrow ex-libris compact Hermès - Paris 1944 Numbered compact 1 engraved polished vermeil side Silver striated relief on the back Silver Silver gold Mirror Screen L'officiel 1944 "flat" compact Hermès Paris Introduced in 1936 Crocodile sheath Gold push-button (eagle head) Signature Poinçon or 18K Poinçon de Maître guilloche powder case Hermès Paris Circa 1940 Numbered compact Surface guilloché with polka dots Silver plated pusher Bevelled mirror Sieve on silver frame with pull Sheathed case in reps satin/velvet interior Poudrier in its box Detail of filter on frame Engraved number powder case Treille Hermès Paris 1952 Hermès-Paris engraved on silver with gold picot highlights Silver and gold Signed suede case powder disc Hermès Paris c1950 Hermès-Paris Engraved on silver Silver Signed suede case "fer à cheval" powder case Hermès Paris 1952 Poudrier with system. Guilloché decoration on each side Press the vermeil triangle to open. The lid has a bevelled mirror. Engraved on the inside "gold - silver" hallmark of Master "Epi" tee clip Hermès Paris 1959 Silver Catalogue Suggestions H 1959 "écu" unglier Hermès Paris c 1960 Saint-Eloi Steel blade and manicure Silver coin porte clés . charm Hermès Paris c 1960 Réaffecté en breloque de sac, le porte-clés à chainette et autres menus objets pendentifs portent aujourd'hui avec justesse le nom de "charm" Cartouche de chasse à système Dauphin Balle de golf Ecu Pince à linge Argent orte clé Fer à cheval 1945 Métal doré Gainage crocodile Gainage lézard letter opener with case Hermès Paris c1955 Silver Chagrin case signed Hermès size of a postage stamp Letter opener Case Signed Hermès slice "oursin" clip set1937 Hermès Paris Déposé 1937 Probably the first piece of costume jewellery produced by Hermès Broche clip et clips d'oreille Gold-plated metal mittens Hermès Paris c1930 Mittens in original box and tissue paper Turned calfskin Embroidery Ribbon END

FAUCONRY is a tradition and one of the most adored traditional sports in the United Arab Emirates. "We have inherited the art of falconry from our grandfathers and fathers and we are now teaching it to new generations," explains falconer Salem al-Mansouri from Abu Dhabi. Chaperon pièce unique Chaperon de fauconry. Création Hermès 2011 Exceptional piece made in the Hermès saddlery workshops for the 2011 fashion show in the Hermès Sèvres Babylone space. The chaperon is entirely handmade in black calf leather and palladium ring beaded with the H of Hermès. Its case: a custom-made orange oval box. Chaperon in its original original orange box Top view Scarf Chasse à vol Photo at the H fashion show, 2011 Made when Christophe Lemaire arrived at Hermès, by the Hermès saddlery workshop for his first fashion show. It is a prototype that falls into the category of exceptional orders of the Workshop / unique piece. The first fashion show of Christophe Lemaire for the House of Hermes, just after the departure of Jean-Paul Gaultier took place in the boutique H Sèvres-Babylone. Initially the falcons present at the show were to be hooded with this chaperone but finally the show took place bareheaded for the bird of prey to avoid additional stress knowing that he would not have the master falconer at his side. Hermès Boutique Sèvres Babylone fashion show in 2011 The chaperon is a leather cap that covers the head of the hawk to blind it so tchat it remains calm and undisturbed by its surroundings. Introduced in the West by Frederic II and described in his famous treatise "De arte venandi cum avibus". Quote from Marco Polo in 1298 Koran case made by Hermès at the request of Thomson-CSF for certain customers in the Middle East The falcon is the national bird of Qatar On the top of the lid, circular medallion decorated with a Shaheen falcon in relief gilded with gold on a background engraved with the Thomson-CSF logo representing an anti-aircraft tank.The inscription "صقر" means "holy falcon" or "Falco cherrug". Published by Hermès for Thomson-CSF (which became Thalès in 2000) for the launch of the Shaheen system developed in Saudi Arabia. Offered to some prestigious customers in the Middle East. END

Paul-Dupré-Lafon Pendulette-H Ermeto Horseshoe Angelus Golf Counter Compass Torpedo Boat Pendulette-Crossed Porthole Welcome to my collections, to a place of light and space where it is good to live, write, look, dream and search. Clocks, pendulum clocks and pendulum clocks personalise refined living spaces. Now museum pieces, these 20th century accessories bring a charm of life to our daily interiors. Beauty is timeless. Authenticity is essential and reassuring. Quality in all its forms is priceless. Table clock H Sublime realization weighing nearly 3 kilos. At first sight a paperweight, but by tilting the central edge we discover an elegant clock with sober lines in the pure design of the time. A timeless object. Hermès desk clock 1960s-1970s Numbered, signed and engraved under the seat Silver plated bronze 7.5 cm square Hermès catalogue 1971 Embossed cover H Clock "Ermeto" Clock "Ermeto" in its Hermès 1929 travel case Hermès Catalogue 1929 Gold-plated silver Lizard-coated silver Pendulum clock Square clock with bridge Full leather1935 Hermes hot stamped under the axis of the hands Easel Mechanism cover in chrome-plated brass Full leather Chrome plated brass Box-calf Angelus Angelus Hermès 1956 Numbered copy Clock in the form of a carriage lantern not attached to the base. White dial with gold index, luminescent "Dauphine" hands and stick hand for the alarm. Mechanical movement. Gilded bronze Blackened bronze Gold The mechanism is hidden in the lantern A system allows the dial to be opened, which pops up like Swiss cuckoo clocks Horseshoe Clock Horseshoe travel clock in its case signed Hermès-Paris 1959 The articulated dial with notches allows to choose a position. 8-day mechanical movement. Dial and movement signed. Chrome-plated brass Box-calf Sports watch jewellery... Golf Tennis • Golf counter Hermès 1925 golf totalizator Hermès The large pointer indicates the hole being played (from 1 to 18). By turning the crown, you can move to the next hole. The crown is pressed to increment the number the number in the window. Button at the end of the link to attach the counter to the to the buttonhole. Steel Box Glass Enamel • Watch "for sport" Watch for sport c.1930 Signature: button and dial reverse with its button fastener Crocodile skin Full leather Palladium metal Fluorescent needles Model reproduced in LMH 1993 p. 16 Suggestions catalogue 1936 • Clip watch for sport Clipped to the lapel of a jacket or sleeve, sportswomen will be on time for the "five to the clock". Clip watch for sport c. 1930 Crocodile skin Full leather Chrome plated metal 1930s golfer. The Hermès watch clipped to the reverse • Altimeter Altimètre Hermès Naudet & Cie Paris Made in France 1980 The altimeter is a measuring instrument used to determine the vertical distance between a point and a reference surface Profile Reverse side of the case with belt loop to attach to the belt Sign H logo embossed leather Chrome plated metal Travel clock102.93.84 Travel clock Hermès Paris 1925 Closing system with front pressure on the lens Fluorescent hands Fluorescent stick index with double Arabic numeral index in open position Front view closed Front view closed back Peau de chagrin Chromed metal Glass Compass paperweight Compass paperweight Hermès-Paris "Total" Années 1960 Offered by Total to invited guests D. 9,5 H. 2,5 cm Silver plated brass Leather Glass Steel Full leather desk clock 5 sided desk clock Hermès 24 Fg St Honoré Paris Paul Dupré Lafon c. 1940 The cubic body rotates on an axis allowing the 4 sides to be viewed. A 5th side displays a compass with a top view. Full leather terrace with steps Underneath the base Signature Polished brass Steel Glass Box-calf Full leather Marine set "torpedo boat" Hermès-Paris marine chronometer Ulysse Nardin movement Numbered copy n°24413 Year of issue c.1950 Reissued in the 1980s with quartz movement Marine chronometer fixed in its mahogany case. Varnished mahogany Brass Mineral glass The gimbal keeps the clock in balance during navigation. Mechanical movement with automatic electric winding and battery operation. Clock hours minutes seconds H. 14,5 L. 15 cm D. 15 cm Weight 2220 gr Nautical inspired clock Hublot clock with easel. In the background an advertisement published in La Renaissance 1939 3/4 view on his easel Polished brass Glass Blackened steel Pendulette "Croisée" Pendulette « Croisée » Hermès-Paris Paul-Dupré-Lafon Jeager-Lecoultre 1965 Pendulette 8 jours Dateur Section carrée 15 cm H. 2 et 4 cm Box-calf Plein cuir Bronze doré brossé Vue de profil Signature Modèle reproduit dans Suggestions 1965 Ed. Hermès "Pendulette pliante" • Plein cuir «Pendulette pliante » Hermès-Paris Paul-Dupré-Lafon 1962 Box-calf Plein cuir Bronze doré • Extra-flat Extra-flat folding clock in lambskin Hermès-Paris c.1937 Numbered Chrome plated metal Sheathed metal fluorescent index and hands 1.13 mm thick Neo-classic clock A Louis XVI style bronze clock finely chased with palmettes around the dial. Ouroboros socket, articulated Hermès Paris Reproduced in the catalogue Suggestions 1961 Partially polished, gilded or amatized bronze Concave glass The 4 screwed bronze feet Atos station clock Station clock "Atos" 1955 signed on the dial of the alarm clock Gold-plated brass Crocodile skin 2 dials 1 thermometer Vertical view Palier N°6 - en préparation

My mysterious collection of Hermès objects Minaudière-Rallye-Malleret Plateau-argent-PrixLGH-1994 Porte-cigarettes Etui-à-cigarettes Porte-allumettes Porte-Coran-Moyen-Orient Canne-siège Etriers Porte-photo Flacon-pendentif Etui-Rochas Porte-pipe-Poulie Boite-Guess Table-yacht-service-inversable Pot-à-tabac-Weintraub Ceinture-Créneau Bracelet-1929 Bracelet-arlequin Coffret-à-cigarettes-de-table-carte-à-jouer Minaudière-pendentif-galuchat Ceinture-ombres-chinoises Bob-ombres-chinoises Ceinture -Cadrans-anciens Orfèvrerie Vénerie Hermès Poudrier Bijoux Rouge-à-lèvres Minaudière Xavier-de-Poret Chasse Blason ElegancePré Pré Fourre-tout chic ! Objets Hermès "bric-a-brac all Hermès in a flat trunk from the House of Goyard". "Do not touch" - Oh no thank you Since I was very young, I have had an attraction for objects. I like to touch them, weigh them, caress them, look at them and finally put them back down. Objects have a specific weight depending on the material they are made of and the simple fact of having them in my hands allows me to determine their composition. I like them for their originality of form and the ingenuity linked to their use, as well as for the natural materials - or not - in which they are made: precious or non-precious metals, paper, cardboard, wood, leather, ivory, tortoiseshell, glass, Bakelite, fabrics... shaped and worked with love and know-how. Only pewter leaves me unmoved. For the beauty of the shapes and the association of the colours, with a penchant for Art-deco, the objects enchant me completely, I can't do without them. I enjoy my home with them, a background noise of Melodie Nelson and my entourage that lets me make my choices and my way of being. Artists and craftsmen, from the goldsmith to the cabinetmaker, have been creating timeless works of art since the dawn of time, present in beautiful homes that have been passed down from one generation to the next or that can be found in museums. Thank you to them... G. Artémoff, J.E. Rhulman, P. Dupré-Lafon, J.M. Frank, A. Hunebelle, R. Lalique, J. Desprez, Maison Hermès, Maison Goyard, Maison L. Vuitton, Paul Poiret, L. Gaillard... the pleasure of contemplating your works embellishes our lives. My curiosity leads me to want to know everything about the enigmatic creations of the Maison Hermès. I like to know who the objects belonged to. I am pleased to share with you the results of my research and discoveries. Hermes Minaudière for the beauty of a horsewoman. Rallye Malleret Who are you, Madame la Comtesse? Minaudière Hermès-Paris 1957 What emotion when this object of my collection, out of my memory, resurfaced. Heavy and massive, I had the pleasure of rediscovering it, touching it, admiring it, opening it, and slipping it into its velvet calf case. Determined to find out more, I took a close look at the enigmatic motto engraved on a paving stone, the history of which I found. The other engraving is being researched, it represents a count's crown surmounted by a lion, probably a relative of the Mallerets. Silver Gold Mirror Dobblis sheath case signed by Hermès By reading the two inverted engravings, you can tell which plunger opens one side or the other. The silver and gold minaudière in its Hermès case is hinged like a book by two push-pieces hidden on the front edge of the object. Simply press the gold pusher to open one side or the other. One of the push-pieces is engraved with a crown surmounted by a lion and the other with a fleeing hare with the motto "Rallye Malleret" just below. Rallye Malleret The Malleret Rally was founded by Paul Clossmann in 1886, who was the aunt of the boatswain. Paul Clossman, owner of Malleret, hunted hares and deer in the Modoquine moors (Médoc, France) until 1909. After a long interruption, the Malleret Rally reopened in 1956 under the leadership of Bertrand du Vivier who took over the name and the emblematic button of the crew, which had belonged to his uncle. Button emblem of the crew of the Malleret Rally "Dress: blue, doe belly facings, no braid The button represents a hare fleeing from a banner with the legend "Rallye Malleret". Boatswain: Marquis du Vivier Fanfare: La Malleret and the Bois Lurette". Copyright Bertrand du Vivier When it comes to hunting, Xavier de Poret, artist-painter, "paparazzi" of animals in nature, is at the edge of the woods, easel and pencils at hand. It is not surprising that his works include drawings of the private hunting society of the Malleret Rally. The Marquis du Vivier by Xavier de Poret - Crew of Malleret - Societé de Vénerie Dedicated silver tray mémory Engraved tray "Prix Lionel Guerrand-Hermès... 1994" Hermès-Paris Lionel Guerrand-Hermès lost his life in 1981 in a car accident. The young man, son of Patrick Guerrand-Hermès, was then 18 years old. In his memory, Hermès published the Lionel Guerrand-Hermès Prize. For 1994, a tray engraved with the words "Prix Lionel Guerrand-Hermès Fontainebleau 4 septembre 1994" was offered to the personalities. Silver plated brass Barenia leather Engraving X-shaped cigarette case Canne seat X-shaped cigarette case Hermès Paris 24 Fg St Honoré 1924 On a side table by André Hunebelle Cross grain leather Metal frame ... The ingenuity of Mr Hermes has succeeded in inventing a model of cigarette case in the shape of an X which allows the closed case to be carried in the pocket and also placed on a piece of furniture where it becomes a trinket presented in an original way.... ..... The same ingenuity can be found in a cane for hunters that can be sat on... .... The same ingenuity can be found in a cane for hunters that can be sat on... Texts from "La Renaissance de l'Art Français et des Industries du Luxe", 1924 Hermes Paris 1924 cane seat The curved handle opens like a book, forming an extra seat Open handle Pigskin Aluminium Precious wood Stirrup Hermès Frères Bronze stirrup Hermès 1920 Signature under the seat Test from "La Renaissance de l'Art Français et des Industries du Luxe", 1921 Talcum powder case for Marcel Rochas elegance in the masculine Talcum powder case holder for Marcel Rochas Hermès-Paris 1949 Special order designed by Hermès for perfumer Marcel Rochas for the launch of Moustache perfume in 1949. Marcel Rochas' refinement and elegance combined with the beauty of his wife, Hélène, were well known. Both were art lovers and possessed treasures of Art Deco. In particular, prestigious pieces of furniture by Eileen Gray. End with saddle-stitched finish Cylindrical box-calf case designed to hold the talcum powder box, topped with the dark red lacquered screw cap Box-calf Aluminium for the container Pendant bottle an approach to perfume Hermès Paris pendant bottle c.1925 H. 5.5 cm, which inspired the design of "Parfum des Merveilles" in 2005 Detail of the screwed tester cap with its twisted twisted rod Pendant bottle metal "Parfum des Merveilles" H.5 cm, 2005 "Pulley" pipe support Pipe "pulley" pipe support Hermès-Paris c.1960 Pipe Hermès crocodile skinned 1968 Surprisingly realistic pipe holder to support a lit stove pipe. The ingeniously designed object is absolutely original. pipe support: Silver Pipe: Heather wood covered with crocodile Enigmatic box - "Guess" secret of a box Box "Guess" (breveté) plein cuir Hermès-Paris 24 Fg St Honoré 1938 When I took possession of this object in 1985, the antique dealer told me it was a paperweight. Given its weight and full leather finish, this was likely. However, I had in mind that this object could conceal a hiding place. Several years later, as I was handling the object, I pressed the right spot. The decorative plate on the top of the box tilted, and I discovered an open space. It was originally a secret cigarette box, but I found a sweet note in the compartment "to Louise...". Now it's no longer a secret. I later learned that this box was designed by Paul Dupré-Lafon, information confirmed by the family of the architect-decorator. Chrome plated brass Box-calf Wood Full leather Tilting the decorative plate on top of the box Tilting table for "reversible" port service for yachts magic trick Tilting table for "reversible" port service (Patented) 1938 Signature on a plaque fixed under a table post The "reversible" service is an invention patented by Hermès in France and abroad. The first services were produced in 1929. The table with "inversable" service appears in the Hermès catalogue of 1938. The table top swivels on an axis with a side table on one side and an invertible service on the other. The full or empty port glasses follow the movement (Ferris wheel system). The glasses are kept upright by gravity. Chrome plated brass Walnut wood Glass or crystal Reversible service side table Tobacco pot dedicated to Jerry Weintraub Who is Lois, Princess Coconut? Hermès-Paris tobacco jar Déposé1956 Dedication to the American actor and producer Jerry Weintraub. To seal, the grip must be turned to compress or expand the clamping rubber. Full leather Crocodile matt Brass Rubber Dedication, under the cover «Exclusively for Jerry Weintraub much love always, Lois (Princess Coconut) » Hermès-Paris Side view of the cover Signature on the bottom Top view of the lid Acquisition faite en Californie Jerry Weintraub Jerry Weintraub (September 26, 1937 - July 6, 2015) was an American actor, art director and film producer. Bibliography: • Suggestions, 1956 N°125 • Carrés d’art II – Illustrated directory & raiting of Hermès scarves, by G.Fontan isbn 978-2-911955-36-5, Page 152 Secret cigarette box Secret cigarette box Hermès-Paris 1925 Polished brass enamel Open box Honeycomb interior To open the box, press on the black point of the domino opposite the hinge Listed in the Hermes 1925 catalogue in the rectangular section version "Créneau" belt more contemporary than ever In 1927, the most daring of the Callot sisters, Marie Gerber, was looking for a belt to accessorise her creations. She asked Hermès, which was very advanced in the creation of accessories for elegant dogs, to extend a dog collar with studs and bells to make a belt. A little later, Hermès was inspired by Marie Gerber's idea and in turn produced belts in the "dog collar" spirit. The model, still in the collection, evolved into bracelets, under evocative names and in many variations. "Créneau" belt Hermès Paris c.1949 First version of the "Collier de chien" model Pigskin Blued steel Bracelet "Gourmette" Hermès 1929 Bracelet gourmette Hermès 1929 Long before Chanel, who made this creation famous, which consists of threading a leather link into gilded metal links, Hermès proposed, in its 1929 catalogue, various models of bracelets made according to this ingenious leather/metal combination. Leather Brass with gold plating Bracelet gourmette Porte-folio Hermès 1929 Bracelet Arlequin Hermès c.1925 Bracelet Arlequin Hermès Paris 1925 Leather Brass Clasp Détail Minaudière 1925 to wear at your fingertips Monogrammed jewellery clutch Hermès-Paris 1925 Inside the minaudière Signature engraved on the inside edge Silver gilt Stingray enamel Roses Mirror Cigarette box "Muratti" Hermès-Paris 1929 Cigarette case in silver, covered with cross-grain leather, with an absolutely sober interior in gold. A simple press on the upper front and the cover opens as if by magic. Another adorable jewel that we never tire of handling. Cigarette box "Muratti" Hermès-Paris 1929 Backround: porte-folio Hermès 1929 où l'on distingue l'étui Muratti Silver Cross Grain Leather (Vintage Cigarettes) Dimensions : 9 x8 x 0,5 cm Cigarette box Hermès-Paris 1923 an object to seduce... Cigarette box Hermès-Paris 1923 In the background: Hermès 1923 folio holder reproducing the case enamelled with black and green stripes on one side. Guilloche surface on the other side, vermeil interior Silver enamel Dimensions : 8 x 6,3 x 0,5 cm Matchbox Hermès-Paris 1923 ...wax matches Matchbox Hermès-Paris 1923 Both sides enamelled on silver. In the background: Hermes 1923 portfolio Silver enamel Dimensions : 4,7 x 3 x 0,4 cm Inside the case with its original short wax and sulphide matches Emouvante trouvaille - une ceinture d'une autre mode ! objet de famille Quand tante Eléonore G. a ouvert son tiroir de la commode à l'entresol, il y avait des vêtements de nuit soigneusement rangés, une boite a attiré mon attention, j'étais sous tension. Nous l'avons ouverte ensemble, et avons découvert une pièce d'exception digne d'un musée de la mode. Cette rareté, signée Hermès, était intacte dans sa boite orange d'origine vieillie par le temps. Ceinture Hermès-Paris c.1940 à décor brodé d'ombres chinoises Feutre brodé Ruban gros-grain Cuir d'agneau Laiton chromé Double boucle Signature Etiquette à la calèche cousue Boucles à ardillons, revers Bob "Ombres chinoises" c. 1940 Signature Etiquette à la calèche "Cadrans anciens" an exceptionnel belt When I acquired this curious belt made up of early 19th century watch dials, I was astonished. The American woman who gave it to me came to France every year to spend a holiday on the Rivera Cote d'Azur. She had brought back this belt bought at Hermès in those years. "Cadrans anciens" belt Hermès Paris 24 Fg St Honoré 1948 Scarf "Cadrans anciens" Hugo Grygkar, 1948 1948 L'Officiel de la mode Koran case made by Hermès at the request of Thomson-CSF for certain Middle Eastern clients the falcon: national bird of Qatar Koran case Hermès-Paris 1980 Published by Hermès for Thomson-CSF (which became Thalès in 2000) for the launch of the Shaheen system developed in Saudi Arabia. Offered to some prestigious clients in the Middle East. Top of the cover On the top of the lid, a circular medallion decorated with a Shaheen falcon in gold relief on a background engraved with the Thomson-CSF logo representing an anti-aircraft tank.The inscription "صقر" means "holy falcon" or "Falco cherrug Inside the cover Engraved "1400-SHAHINE - 1980" topped by the emblem of Saudi Arabia Silver plated brass Gold Wood Designed by Ravinet d'Enfert for Hermès-Paris Signed Hermès-Paris on one side Chaperon Unique piece made for the Hermès Sèvres Babylonne 2011 fashion show Falcon hunting is a sport practiced by all Qataris. The possession of this bird is a symbol of power and nobility. In the country, it is a real passion. The bird even has its own air-conditioned room. It is treated like a real pet, or even better! Chaperon(1) of falconry Creation Hermès 2011 Pièce unique réalisée dans les ateliers de sellerie Hermès à l’occasion du défilé de mode 2011 dans l’espace Hermès Sèvres Babylone. Le chaperon est entièrement réalisé à la main en cuir de veau noir et bague paladiée, perlée du H d’ Hermès. Calf leather Paladised metal Chaperon - top view 2011 marks the arrival of Christophe Lemaire at Hermès. It was on the occasion of his first fashion show that the Hermès saddlery workshop produced this prototype, which falls into the category of exceptional orders from the workshop/unique piece. Chaperone on its original oval box Christophe Lemaire's first fashion show for Hermès, just after Jean-Paul Gaultier's departure, took place in the H Sèvres-Babylone boutique. Initially, the falcons present at the show were supposed to be hooded, but in the end, the show took place bareheaded for the bird of prey in order to avoid additional stress, knowing that it would not have the master falconer at its side. Parade Hermès Boutique Sèvres Babylone en 2011 (1) A leather headdress used to blind a falcon so that it remains calm and undisturbed by its surroundings. Introduced to the West by Frederic II and described in his famous treatise "De arte venandi cum avibus". Quoted by Marco Polo in 1298. Articulated dachshund photo holder the favourite pet Photo frame "Anita" Hermès-Paris 1988 Silver Palier N°5 - Find out more soon

Heritage treasures of Hermès creations - Private collection - Visit... The rare, the authentic, the beautiful, the unusual... major research criteria in my choice of collections. N°INV.gf/amde100 Hermès Paris "sac forme haute" 1897 Introduit en 1897, il devient en 1958 le sac "Haut à Courroies" ...This same clientele, in its quest for new leisure areas, demands adapted luggage to take with it, on its journeys to seaside towns and horse-riding towns, the hat case, the boot case, or the riding equipment, the golf bag. The weekend traveller can take his necessities with him on the train using the high, strapped bag that was the best-selling item at the end of the 19th century... From a publication by Jean-Pierre Blay, historian, University of Paris Nanterre Détail pont et sanglon pointe courbée Vue du rabat de fermeture avec ses 4 mortaises Sac ouvert avec son cadenas tonneau nickelé Sac 2 poignées, 1 rabat Fermoir à sanglons Intérieur : espace libre, fond renforcé Vache grain long, laiton L. 460 mm Répertorié dans "Mémoire des sacs Hermès I" Arfon MDE Provenance : Famille choletaise (France) chiffré ALS Acquisition : Etude Chauviré-Coutant à Cholet (Maine et Loire) N°INV.gf/amde101 Hermès-Paris 24 Fg St Honoré "sac de voyage à courroies pour dame" 1937 dans la couleur iconique de l'époque qui est le marron d'Inde Introduit en 1937, en 1956 il devient le "Kelly" Presented for the first time in the pages of the Hermes commercial catalogue "Suggestions" 1938, under the name "travel bag with straps for ladies". One size, one finish in 1938. The iconic ladies' bag evolved slightly in shape. In 1956, it was called "Kelly" and became a fundamental base for many of the brand's creations. Signature Détail du touret en laiton martelé Sac ouvert avec sa doublure en box-calf Poignée plate avec les dés montés sur enchapes renforcées par 2 clous en laiton Sac vue de trois-quart Sac à main 1 poignée 1 rabat Fermoir à sanglons Intérieur : espace libre 2 poches plaquées 1 large poche plaquée Box-calf, laiton L. 350 mm Répertorié dans "Mémoire des sacs Hermès I" Arfon MDE Acquisition : Etude lyonnaise de Baecque N°INV.gf/amde102 Hermès-Paris Déposé Sac de transport pour bombe d'équitation c. 1930 Sac de transport 1 poignée escamotable montée sur passes Fermeture Eclair à glissière Intérieur : adapté à la forme de la bombe d'équitation, doublure Vache grain long, peau d'agneau, laiton L. 265 mm A l'intérieur bombe d'équitation de chez Motsch Signature intérieur bas Acquisition : France Bordeaux Aquitaine N°INV.gf103 Hermès Paris Sac de transport pour jumelles c. 1930 Sac de transport bandoulière rabat à charnière Fermoir bouton Intérieur : espace aménagée pour une paire de jumelle Peau de porc, peau de chamois, ficelle, laiton nickelé L. 160 mm Chiffré et frappé de la couronne comtale de la famille Intérieur de l'étui Signature Acquisition : succession Jean d'Ariste - Etude Carrère & Laborie France Pau Nouvelle-aquitaine Provenance : Appartenait au Comte Jean d'Ariste, éleveur de chevaux passionné de cheval N°INV.gf104 Hermès 24 Fg St Honoré "Mallette à soufflets invisibles" 1929 Valise mallette 3 points de fermeture + sangles à l'intérieur : espace aménagée avec étui amovible pour chemises Détail du soufflet déployé Peau de porc, peau d'agneau, laiton nickelé L. 700 mm Signature sur la tranche intérieure Etui à chemise amovible avec tirette à l'intérieu Catalogue commercial Hermès 1929 N°INV.gf105 Hermès Paris Déposé "Sac-mallette" introduit en 1923 Remis en collection (variante) sous le nom de "Macpherson", 1990 Détail serrure avec entrée dissimulée, moraillon accolade Vue de trois-quart Sac-mallette 2 poignées Fermeture à glissière Intérieur haut : espace libre Intérieur bas : zone de rangement en ceinture de la mallette Peau de lézard, peau d'agneau, laiton argenté, satin moiré L. 455 mm l. 285 mm Signature Détail fermoir à glissière Répertorié dans le livre "Mémoire des sacs Hermès II" Arfon Maison d'Edition N°INV.gf106 Hermès 24. Faubg St Honoré Sac de calèche 1927 Détail du fermoir sac ouvert Sac squaremouth Fermeture à curseur sur rail Détail du fermoir sac fermé Clé clochette tirette Intérieur : espace libre 2 poches plaquées en vis à vis, doublure toile Vache grain long laiton chromé, toile patron L. 460 mm l. 270 mm Signature Système de calage en mode sac ouvert/fermé. L'élément latéral gauche bascule pour obtenir la position désirée Acquisition auprès d'une propriétaire Genevoise. Elle s'appelle, Particia, nous avons gardé un contact amical. Je lui est attribué le nom de sac "Patricia" N°INV.gf107 Hermès-Paris Déposé Sac d'architecte c. 1930 Sac de métier Fermetures à glissière et liens avec passants à oeillets Intérieur : Haut 1 : 1 compartiment à soufflet / Milieu : 1 large poche plaquée fermeture à liens / Bas 3 poches plaquées à liens Box-calf, laiton argenté, L. 590 mm l. 410 mm Intérieur du sac Signature Poignée escamotable montée sur passes Hermès Paris "Sac à linge" 1953 Sac de transport 1 poignée escamotable montée sur passes Fermeture à lien-chaîne coulissant-poignée Cadenas Intérieur : espace libre Toile canevas, box-calf, laiton doré Diamètre 380 Ht. 770 mm N°INV.gf108 Assise Signature Fermeture Poignée chaîne cadenas clés L'art de la mode 1956 N°INV.gf109 Hermès-Paris ""Sac forme haute" ou 'Sac de selle" 1924 Introduit en 1897, il devient en 1958 le sac "Haut à Courroies" Vue du rabat de fermeture avec ses 2 mortaises Signature Sac de transport 2 poignées Fermeture à rabat Intérieur : espace libre doublé toile Toile canevas, cuir barénia, toile à patron, laiton Long. 490 mm Cadenas Clés Tirette Acquisition : France Bordeaux Aquitaine N°INV.gf110 Hermès-Paris 24. Fg St Honoré Déposé "boite à chapeau" Introduite en 1926 Sac de transport 1 poignée Fermeture rail à glissière Signature Intérieur : espace libre, sangles de fixation, doublure Vache grain long, peau d'agneau, toile satinée, laiton argenté Diamètre : 450 mm Fermeture rail à glissière Hermès Catalogue commercial, 1926 N°INV.gf111 Hermès-Paris 24. Fg St Honoré "boite à chapeau extra légère, fermeture Eclair" 1929 Sac de transport 1 poignée Fermeture Eclair à glissière Poignée sangle à boucle/ardillon Fermeture à glissière Signature Sac de transport 1 poignée Fermeture Eclair à glissière Intérieur : espace libre, sangles de fixation, doublure Toile canevas, toile satinée, box-calf, laiton doré Diamètre : 400 mm Intérieur avec sangles de fixation Hermès Catalogue 1929 Acquisition : France Bordeaux Aquitaine L'officiel 1948 N°INV.gf112 "Madère" ou "sac à linge" 1963 remis en collection en 2017 Sac de transport 2 poignées Fermeture Eclair à glissière Intérieur : espace libre, doublure Toile canevas, box-calf, toile satinée, laiton Long: 400 mm Signature à l'intérieur Poignées détail Acquisition : France Lyon Rhône-Alpes N°INV.gf113 Hermès Paris "Sac auto forme haute 'fermeture Eclair' " c.1929 Introduit en 1923, il devient en 1925 le sac "Bugatti" puis en 1995 est renommé "Bolide" Signature Sac d'automobile 2 poignées Fermeture Eclair à glissière Assise lisse Cadenas tonneau Intérieur : 4 poches plaquées positionnées dans le bas en vis à vis, doublure Peau de porc, peau d'agneau, laiton Long. : 350 mm Hermès Catalogue commercial, 1929 Emile Hermès et sa fille ainée Yvonne 1930 (vue partielle) N°INV.gf114 Hermès Déposé c. 1925 Introduit en 1923, il devient en 1925 le sac "Bugatti" puis en 1995 est renommé "Bolide" Sac de transport 2 poignées Fermeture rail à glissière Assise cloutée Intérieur : espace libre doublure agneau (fond et bas), doublure chèvre (haut) Fermeture Cadenas Signature Box-calf, peau de chèvre, peau d'agneau, laiton Long. : 400 mm Tirette Assise N°INV.gf115 Hermès-Paris 24. Fg St Honoré 1929 "Sac voyage forme haute à soufflets, fermeture Eclair" Détail fermeture Eclair Sac de voyage 2 poignées Fermeture Eclair à glissière Assise cloutée Intérieur : espace libre doublure chèvre Box-calf, peau de chèvre, peau d'agneau, laiton Long. : 450 mm Signature à l'intérieur du sac N°INV.gf116 Hermès-Paris 24. Fg St Honoré 1936 "Squarmooth" Sac de voyage squarmooth 1 poignée Fermeture Eclair à glissière Assise cloutée Intérieur : espace libre Porte étiquette signée Hermès Peau de porc, laiton Long. : 400 mm Larg. : 225 mm Clé Suggestions 1936 Palier n° 4 en préparation

"They say I'm crazy, but Foret is even crazier than me, he undertakes books that nobody has tried or had the idea of doing. » Salvador Dali (pour présenter Joseph Foret, le 22 février 1964 à New-York) Box designed by Joseph Foret Art publisher 64, rue La Fayette Paris 9e, known for its edition of the Apocalypse (1). The handwritten dedication of Salvador Dali can be seen Monsieur Marquay, presented in a bottle and box designed and illustrated by Salvador Dali for Marquay Parfumeur, 1953 Unique copy with the publisher's stamp, and dedication to the publisher by Salvador Dali in manuscript on one side of the jacket. Provenance: Piece sold at auction after the ruin of Foret (2) circa 1970. This anecdotal piece was made and dedicated during the first years of the Apocalypse while Dali and Foret were faced with the laborious study of the artistic realisation of the work. The close complicity of the publisher Joseph Foret with Salvador Dali Dali était très proche de Joseph Foret (1901-1991) qui a réussi l'exploit de réunir les plus grands acteurs du monde des arts, de la peinture et de la littérature pour concevoir une oeuvre éditoriale gigantesque sur un sujet dantesque et divin. Un travail qui les a rapproché pendant de longues années de travail collaboratif. Le livre a été achevé en 1961. Joseph Foret and his edition of the Apocalypse Dali was very close to Joseph Foret (1901-1991), who managed the feat of bringing together the greatest players in the world of art, painting and literature to conceive a gigantic editorial work on a Dantesque and divine subject. A work that brought them together during several years of collaborative work. Le livre a été achevé en 1961. (1) It's an avalanche of record numbers that surrounds the Apocalypse, a book-monument conceived at the end of the 1950s by Joseph Foret.... The work, in any case, emanates an emotion of incredible intensity, born of the diversity of artistic sensibilities that it juxtaposes. An aesthetic abundance wanted by Foret. ... Orphan at 6 years old, starting from nothing and "mounted" in Paris, he meets the greatest: Picasso, Chagall, Dali. A wonder. One night in 1958 - a night of ecstasy? - Foret sets himself a challenge: to create a unique work, the work of his life. At the age of 57, he becomes the project manager... Despite the refusals of Picasso, Chagall and Mauriac, the company takes shape. To the painters is entrusted the creation of three illustrations each one corresponding to the various contemporary currents. Buffet representing figurative art, Dali surrealism, Zadkine cubism, Foujita Japanese art, Mathieu lyrical abstraction, Léonor Fini lyrical art and Trémois hyperrealism. The writers - Cocteau, Rostand, Rops, Giono, Cioran, Guitton - are entrusted with the task of writing in their own register, reflections and inspirations on the apocalypse of our time. All in all, a striking rendering, with, like a powerfully rhythmic text-image phrasing, which is accompanied by the text of Saint John, translated by R. P. Boismard, from the biblical school of Jerusalem, and calligraphed by Micheline Nicolas. "More than four thousand hours of gilding work to produce titles, lettering and highlights of the gold illustrations," comments Karoutzos. A unique book, of all records, the largest (210 kg) and the most expensive (estimated at 100 million francs in 1961, 200 million in 1963...) made on a single sheet of paper from the Moulins Richard de Bas which can be unfolded over 150 metres in length. . Dali and the Apocalypse. First visitor to the International Book Art and Bibliophily Fair (1959). Salvador Dali came in person. The master had to present the well-known book he had been working on for a long time : The Apocalypse, the most expensive and heaviest book in the world. The cover of the book is illustrated by Dali's sculpture, an impressive inlaid bronze door, weighing 150 kilos and representing the apocalyptic outpouring. To achieve it, Dali is said to have burst with an axe a wax plate in which he drowned needles, nails, shells, precious stones and also gold knives and forks. For, according to the master, "the Apocalypse can be eaten like cheese, cooked to perfection". Completed in 1961, the work travels around the world. During an exhibition in the Vatican, throne room, Pope John XXIII declared that it must be "seen by the crowds". This prophecy was largely fulfilled: until the mid-1970s, more than 140 exhibitions were devoted to it, and 7 million visitors attended. The Apocalypse is then at its zenith. Before succumbing to oblivion, to experience a desert crossing marked successively by (2) the ruin of Foret, the release of its blockbuster, .... after Patrimoine by Séverine Dieuze L'express March 22, 2004 Bibliography: " Représentation du dandy à l'image de Fred Aster " (L'art du Parfum C.M. Lefkowith, 1994) Museum: Museum of Perfume - Principality of Andorra (undesigned copy) END

A Treasure preserved at the Osmotique of Versailles Parfum Royal by Jean Patou Jumbo in two copies, one for the Osmothèque de Versailles Bottle designed by Michèle Teysseyre Private collection GF The oldest perfume ever recreated preserved at the Osmotheque of Versailles dates back to the first century. It is Parfum Royal, whose recipe appears in one of the thirty-seven volumes of Natural History, written by Pliny the Elder. An essence that has twenty-seven constituents (generally, a perfume contains ten to forty, or more). MY MEETING WITH MICHELE TEYSSEIRE I met Michèle Teysseire in 1995, during a perfume fair at the Hotel Capoul in Toulouse. She had just lost part of her works, destroyed in a fire that had ravaged her artist's studio. The studio, located in the Chartreuse in a central district of Toulouse, was rebuilt. It is there that she continued to paint to the delight of a faithful clientele admiring her paintings. She will use fragments of her charred works to make new artistic creations. Geneviève Fontan and Michèle Teysseire at the Parfum Art et Valeur exhibition at Capoul in Toulouse, 1995 Michèle Teysseire has an emotional way of inviting you into her projects and so, as a young associate publisher (Ed. Fontan & Barnouin), we entered into a timely editorial partnership, resulting in the release of a luxurious presentation combining a book on flavours and an exceptional fragrance. A CONCEPT Presentation box for the book Flavours and Scents of Ancient Rome and the perfume Royal The presentation box contains the recipe book and the date-shaped bottle presented in a boxed set reminiscent of the date palm fruit transport crates. Michèle Teysseire, meticulous and perfectionist, wanted to participate in every step of the creation of the book, the box, the bottle and the packaging. The filling, the wrapping and the sealing with gold thread were carried out in Paris in the workshops of the House of Jean Patou. The book Saveurs et senteurs de la Rome antique is a collection of 80 Apicius recipes, developed by Italian chef Renzo Pedrazzini. Each recipe is illustrated with a drawing by Michèle Tesseyre. This first edition was published by Fontan & Barnouin Editions. Le Parfum Royal is a perfume composed by perfumer Jean Kerléo, based on a recipe by Pliny the Elder (1st century CE), kept in the cellars of the Osmotheque in Versailles. THE MEETING - JEAN DE MOÜY, MICHELE TEYSSEIRE, JEAN KERLEO Jean de Moüy, Jean Patou's grand-nephew, managed the Maison Jean Patou from 1980 until the 2000s. Very sensitive to art and a lover of old books, which he collects with genuine passion, he acquired many paintings by the MT artist, deeply moved by his talent as a painter. So much so that one day, as a patron of the arts, he asked Jean Kerléo, the olfactory designer of the Maison Jean Patou, to design a perfume for the release of the book Saveurs et senteur de la Rome Antique. He then presented Jean Kerléo to Michèle Teysseire, who asked for the "impossible", i.e. a perfume that illustrates the 80 recipes of Apicius. Jean Kerléo reports "When I was asked to make an ancient perfume, I first said NO, I already have trouble making modern perfumes. If it's to go back centuries, then it's illusory." And then he said: Let's try it anyway! And one thing leading to another, or from one wand to another, the Royal Perfume, mentioned by Pliny the Elder in his famous book Histoire Naturelle in book XIII, took shape, so to speak! Jean Kerléo encountered obstacles in the search for raw materials that had to be gleaned all over the world. As for the quantities that were not mentioned, he had to make multiple attempts to find the right dosage. Finally, after a year, through perseverance, driven by the desire to achieve his goals, Jean Kerléo succeeded in reconstituting the Parfum Royal. Today, the Parfum Royal is preciously preserved in the cellars of the Osmothèque and only comes out into the open for exceptional occasions. I have always had an immense pleasure, -I could say to talk with Jean Kerléo- but I would say to listen to him. He has immense knowledge and willingly tells, without emphasis, fascinating stories about his life at Jean Patou and all sorts of tasty anecdotes that I should have written down to tell you today. The Royal Perfume, the first of all times, is a treasure for the Osmotheque of Versailles. This unique place in the world, founded by Jean Kerléo in 1990, has kept in its cellars the precious scents of the world's greatest perfumes since the first century. ANTIQUE ROME If you go back to ancient Rome, Rome had the best tables in the world. Its cuisine was spicy and the presence of perfume could not go unnoticed. It was customary to perfume oneself, like an olfactory aperitif, just before sitting down to the table! Perfume was in a way the dominant "grain of salt" of flavours. Parfum Royal, seems to have been developed for the kings of Parthia (formerly Iran). A perfume seems to be composed of 24 aromatics and 3 excipients. It is mentioned in the book of Paul Faure, Perfumes and Aromates of Antiquity. It is in this book that Jean Kerléo was able to find the list of ingredients. One of his friends, Gilbert Julien, passionate about herbalism, helped him a lot in his research. MEMORY 17 NOVEMBER 1997 - Inauguration of the Parfum Royal, at Jean Patou's house, 7 Rue St Florentin in Paris In the salons of Jean Patou's private mansion, the inauguration of the book Saveurs et Senteurs de la Rome Antique and of the Parfum Royal by Jean Patou, reconstructed by Jean Kerléo, took place on 17 November 1997. A memorable event! Photos of the evening at Jean Patou 17 November 1997 Parfums Art et Valeur magazine, 1997 Mr and Mrs Jean Kerléo during the cocktail party The "feast" was prepared by Renzo Pedrazzini, author of the recipes in the book, who had chosen the best preparations of the great Roman dinners. However, thechoice of wines caused some discussion and finally the idea of serving Roman wines was abandoned. Indeed, Roman wines are spicy and sweet, which could have disturbed or surprised the palate of the uninformed. The choice of wines was therefore entrusted to the wine antique dealer, Hervé Lorain. Geneviève Fontan and Gérard Gasquet, decorator at Jean Patou A COCKTAIL BY RENZO PEDRAZZINI On the occasion of the 2nd salon Parfum art et Valeur in Toulouse, Renzo Pedrazzini was the master chef of the cocktail party. Guests were able to discover the flavours of ancient Rome. THE ROYAL PERFUME Coming straight from the cellars of Jean Patou, this royal scent was intended for perfuming date-shaped cards. I treasure these few millilitres of rare scent for a solitary pleasure. PERFUME CARD IMPREGNATED WITH THE ROYAL PERFUME Perfume card Parfum Royal Let's stay in the Rembobina, with the release of the book on scented cards published by the House of Arfon in 1997, which features the scented card-datte. A scented card (impregnated with Parfum Royal), in the shape of a numbered date-bottle, was offered to Arfon's best customers. The Parfum Royal came straight from the Osmothèque, I keep what little of this precious perfume I have left as a relic. FLAVOUR side SENSOR side I had dinner at the Lugdunum at Renzo Pedrazini's in St Bertrand de Comminges. It's a unique experience to do once in a lifetime. Authentic cuisine! Cultural cuisine! You can taste what was served at the time of Apicius. Going to dinner at the Lugdunum in St Bertrand de Comminges, is like a kind of "live" in Ancient Rome. On the scent side, I am transported by the Royal Perfume, which I used to put a few drops on the back of my hand not so long ago. Now I don't touch it anymore. My friends and family don't perceive it the same way. They ask me half-figuratively, half-grapefruit: "...but what is this perfume?" In conclusion, this scent is a curiosity, I like its spicy scent, a fine scent of leather, exotic woods, maybe also... I have designed this perfume to be used at the table, at a Roman dinner or a social dinner. END

Trésors de la Parfumerie Treasures of Perfumery Myrurgia is a perfume company founded in Barcelona (Catalonia, Spain) in 1916 by Esteve Monegal y Prat. Myrurgia soon became an important player in the international perfume market, with products that were oriental ("Maderas de Oriente"), exotic Hispanic ("Maja") or even clearly hedonistic ("Orgía"). Monegal was concerned with quality in the presentation and advertising of his products. He collaborated with well-known artists such as Eduard Jener and Jacob Baron de Wilkinson. The poster for the perfume line "La Maja" is a design by the artist Eduard Jener, who was inspired by the dancer Carmen Tórtola Valencia and a photograph of her show La Tirana. Myrurgia is housed in a building designed by Antonio Puig Gairalt (1930), one of the most outstanding examples of current Catalan rationalism, whose façade is decorated with a three-part bronze relief frieze by the Madrid sculptor Reste (Restituto Martín Gamo) Regium, in Baccarat crystal, was launched at the opening of Myrurgia in Barcelona. It is one of the first Myrurgia bottles. Myrurgia "Regium" 1917 The book "MYRURGIA Belleza y Glamour 1916-1936" traces the history of Myrurgia and the main actors present during this period. Myrurgia Ambar, 1925 Julien Viard, Drawing of the box embossed designed by the sculptor Eduard Jener Extrait du catalogue Myrurgia 1917 Catalogue page from Verreries Viard, Violet Le Duc Regium bottle top right. Myrurgia Perfumery Company established in Barcelona, Spain in 1916, is a family business founded by the Monegal family. The company name Myrurgia was created from the Greek words for "essence" and "industry". Thanks to the combined efforts of wealthy chemical industrialist Raymond Monegal, his marketing skills and the artistic talents of his son, sculptor Esteve Monegal Prat, the Myrurgia company quickly became a great success. Esteve earned university degrees in Paris and Barcelona. Her training in perfumery in Grasse, then in Paris and at Firmenich in Geneva allowed her to develop the perfumes, soaps and other exquisite products of the company, which became very well known in Catalonia and particularly in Barcelona. Myrurgia Powder box with Lily of the valley perfum The box is rigid it is lined on the outside with real cashmere, inside in cream satin struck with Myrurgia gold. The powder cartridge is slipped into a satin purse with a sliding cord. left: excerpt from the catalog Myrurgia 1917 Extrait du catalogue Myrurgia 1917 Myrurgia, Vanda Suavis, Baccarat crystal bottle 1916 Catalogue Commercial Myrurgia Myrurgia Morisca powder box, 1917 Catalogue Commercial Myrurgia Advertisement for the Morisca line, photographed in the book Myrurgia 1916-1936 END

Marthe Chenal (1881-1947) is one of the greatest lyric singers of the first part of the 20th century. Between 1905 and 1923, she performed major roles at the Palais Garnier and the Opéra-Comique de Paris. In particular Don Giovanni, The Phantom Ship, Faust or Carmen. In 1917, she appeared at the Teatro Costanzi in Rome in the role of Massenet's Sapho and gave a concert of French opera arias at La Scala in Milan. Powder box "Marthe Chenal" by Parfumeur Rigaud, 1920 In the background, a letter written in 1922 from the Carlton in Cannes in which the singer declines the wishes of an admirer. (coll. GF) The perfume in its "Le parfum de Marthe Chenal" case by Parfumer Rigaud is part of the Collection of the Conservatoire Louis Vuitton. The muse of the Tout-Paris In her property of Villers-sur-Mer, in Normandy, Marthe Chenal receives the Tout-Paris. She is all the rage aboard her Hispano-Suiza in the streets of Villers. She has many connections, including one with Picabia, with whom she will establish an artistic collaboration. This muse of the Tout-Paris and of the intellectual and cultural avant-garde entrusted Picabia, who had officially declared his break with the Dada movement, with the organization of the New Year's Eve celebrations on December 31, 1921, in her private mansion on the rue de Courcelles in Paris. About a hundred guests were present at this celebration which brought together painters, writers and celebrities. Brancusi, Cocteau, Morand, Picasso, Vollard and social figures from France in the 1920s were among the guests. Original copy of the invitation to the New Year's Eve 1921 at Marthe Chenal, drawn by Picabia The Cacodylate Eye is a Dadaist painting by the artist Francis Picabia, painted in 1921 in 1921. . Louis Vuitton "Marthe Chenal" crocodile leather toiletry case, created for the singer in 1925. Collection of the Louis Vuitton Conservatory. Cf Louis Vuitton Legendary trunks p.281 A major event in the singer's career Drawing by Georges Scott (1873-1943) "La Marseillaise personified with the famous soprano Marthe Chenal A major event in the actress's career On November 11, 1918, Marthe Chenal entered into legend at the time of the First World War. Draped in the tricolour banner, from the balcony of the Opéra Garnier, the seductive soprano begins La Marseillaise in front of the people of Paris, in ecstasy, in the presence of Georges Clémenceau. After signing up as a nurse, she was also on all fronts, particularly with the "poilus", singing for them in the trenches. On 11 November 2011, an exceptional exhibition opened in Villare: "Marthe Chenal, la Diva Flamboyante" (Marthe Chenal, the Flaming Diva) dedicated to the famous singer Marthe Chenal, who often stayed in her house in Villers, "le Cloitre". END

. André Perugia was born in France, in 1893, in the city of Nice, of parents originally from Italy. Many shoemakers practise this trade in the family and quite naturally, André became a shoemaker at the age of sixteen. He learns and understands quickly. Evening" bottle in its box - In the background advertising for the 3 bottles of the series Superposition of the visual and the object. In the background the advertising of the "podium" bottles of Perugia, designed by Charlotte Perriand: Matin Après-Midi and Soir. In the foreground, the Soir bottle in its case is artistically aligned. Photograph GF André Perugia met Paul Poiret, on vacation in Nice, in the 1910s, a period when industrialization and the arts were preoccupying people's minds. They appreciate each other and exchange ideas with humor and sincerity, until the First World War which will separate them. Thanks to the advice of Paul Poiret, after studying, André Perugia became an engineer. In 1921, he opened his first boutique 11 rue du Faubourg-Saint-Honoré in Paris. Soon, André Perugia is recognized as a master in shoe design. Perugia - Sandale Picasso, 1929 In 1927, Perugia crossed the Atlantic to New York, where he was adored. In 1933, he created the Padova brand, marketed exclusively in the United States at Saks Fifth Avenue. He continued to create from 1940 to 1960 and retired in 1970. He died in 1977 at the age of 84. André Perugia - Presentation of the perfume Soir dans son coffret for the "podium" bottle designed by Charlotte Perriand. In the background: the interior of the Fg St Honoré boutique in Paris. André Perugia, frequented and collaborated with actors from the art world. His creations are today museum pieces. Perugia distinguished himself by his surrealist creations. Les Heures de Perugia : "Matin" "Soir" dessin Charlotte Perriand André Perugia - Perfume presentation Les Heures de Perugia Morning Afternoon Evening - Enigmatic boxed set for three bottles and three floral notes Lilac Carnation Violet. Ankle caps. Les Heures de Perugia version, for three fragrances, presents a very classic design, too classic, let's say, not to hide any intrigue! The arrangement and shape of the caps on these three bottles is striking, reminiscent of the pegs used to adjust the chords of a stringed musical instrument. Charlotte Perriand designed the entire decoration as well as the creation of the furniture and displays of her boutique in the Faubourg Saint Honoré in Paris. She designed the "Podium" bottle (unpublished information) whose design represents the shoe displays of her boutique. The monogram AP logo, inside the lid of the box Les Heures de Perugia, was designed by Paul Iribe, who at the same time designed the monogram R for Paul Poiret's bottle La Rose de Rosine (unpublished). Perfume bottle Le R de Rosine - Les Parfums de Rosine (Paul Poiret) Unpublished texts from period documents END .

Cadolle Perfumes Cadolle Amour en cage Jasmin 1926 in its rare box Polished black crystal bottle, the cut edges underlined with gold fluting. Nut cap with its lacquered brass ring. Box with calfskin covered flap in fuchsia colour with satin and velvet inside. The first Cadolle fragrance was introduced in 1922 by the founder, Herminie Cadolle. Set for 4 parfums Gardenia, N°9, Jasmin, Détente - 1928 The workshops were located rue Mont-Thabor and the perfume factory rue des Laynes in Paris. Cadolle perfumes were introduced by Herminie Cadolle in 1922. After the death of the founder, Margueritte Cadolle continued her mother's perfumery activity and created her first perfume line in 1926. Installed at 14 rue Cambon, Herminie attracts a wealthy clientele with her made-to-measure products. In Herminie's wake, her granddaughter, Marguerite, launched a perfume line in 1926, as part of the launch of the fashion collection entitled Amour en Cage. The name of the perfume line is apt. Amour en cage was created in 1926, in various scents and bottle and box presentations. Everything happens upstairs and only the clients of the haute-couture of the chic underwear have the privilege to acquire the perfumes created for them, hence the rarity of Cadolle perfumes. The luxury version Amour en Cage is offered to the best clients, among them duchesses, archduchesses, artists from the world of arts and entertainment. Another version is intended for haute-couture clients who wish to acquire it. A third, much rarer version with a flap box is also listed for the Amour en cage presentation of the perfume Jasmin. Just after World War II, the Cadolle N°9 formula was sold to Paquin. Shortly afterwards, L'Oréal absorbed Paquin and the Cadolle N°9 formula with it. A little later Poupie Cadolle bought back N°9 from L'Oréal, which joined Cadolle Parfums in 1986. Since 2008 the production of N°9 has been stopped. Cadolle - Set of 4 test bottles for Gardenia, Jasmine, N°9, Relaxation c. 1928 Cadolle Amour en cage - Ambre 1926 Apposite: detail of the face of a shutter of the box on which a cupid (symbol of love) Cadolle Amour en cage - Ambre - 1926 in a cage is struck with iron below bottle in its box Cadolle Présentation l' Amour en cage - version luxe Polished black opaque glass bottle, the edges with curvilinear cut edges underlined with gold gilding The four polished curvilinear faces, the name moulded and engraved in hollow on one face. Gold lacquered crystal stopper with its black lacquered brass ring. Box with four articulated sides held by a cord of trimmings. The design evokes the break with the corset, as for the name Amour en cage, it is also the name of a delicious fruit, the physalis, which has the shape of this corset-cage presentation. Physialis l'Amour en cage In 1927, Marguerite Cadolle unveiled Le Bois Sauvage, an exceptional perfume for customers on the first floor. The rigid cardboard box is lined on the inside with gold-plated paper, while the outside is covered with a suedecloth covering in the colours of autumn, struck with a hot iron with a bucolic decoration representing a sinuous leafy tree, a bird of paradise perched on a branch. Cadolle Le Bois Sauvage, 1927 Photography with a surrealist effect. In the background the perfume advertisement and in the foreground the original cover of the Bois Sauvage box that caps the advertising bottle. Cadolle Le Bois Sauvage, 1927 Translucent glass bottle with slightly patinated satin branch decoration. The name in hollow on one side, and the mark in hollow on the other side in a polished cartouche. Cadolle 1928 • Packaging having received the perfumes N°9 Gardenia and Magnolia Herminie Cadolle In 1871, Herminie Cadolle (1845-1926), a feminist activist, took part in the first movements claiming to be feminist and became close to Louise Michel, an anarchist activist and freemason with feminist ideas. After being arrested at the end of the insurrection, she was released a few months later. That year she decided to leave France to settle in Argentina with her family. Supported and encouraged by her husband and her only son, Alcide, she actively pursued her struggle until 1887. Herminie Cadolle She opened the first Cadolle boutique in Buenos Aires, specialising in women's lingerie, and quickly made a fortune. Back in France, she invests by registering a patent for the corset-bra and opens her first shop in Paris at 24 rue de la chaussée d'Antin, not far from Paul Poiret's. In 1911, she moved to 14 rue Cambon for a vast multi-storey premises. .... It was then that an idea came to her mind. A simple idea after all! A very simple idea. Herminie transformed the banned corset into a much lighter undergarment that she called the corset-bra, which would later become the bra. She presented her invention at the Universal Exhibition in 1989 and convinced the Tout-Paris. The invention of the bras As soon as she arrived in France, Herminie put into action an idea that would fill her brain with insomnia. In 1898, she filed a patent for the corselet-bra, which would later be called the brassiere. Encouraged by the success of her invention, she took part in the 1900 Universal Exhibition in Paris and presented her creation to the visitors, who were convinced that it would free their ribcage from the shackles of an "obligation" that was about to pass. This must-have underwear seduces unconditionally. Mata Hari, Coco Chanel or the Duchess of Windsor... adopted this new feminine mode of support. Création Cadolle The frozen body - the Belle Otéro (1868-1965) knows something about this! - No twists, no languorous postures, no room for the wandering hands of eager gentlemen. If she hadn't invented it, Chanel would have! La Belle Otéro, a singer, cabaret dancer and great courtesan of the Belle Epoque In 1910, Herminie opened a workshop-boutique in Paris, rue de la Chaussée d'Antin, partly run by his daughter-in-law, Marie. It will be a real success, she employs nearly 200 workers who manufacture lingerie for the subsidiaries in London, New York or Saint-Petersburg. As the time to expand the store grew, Cadolle moved to 14 rue Cambon in 1911. For more than 6 generations of women, the House of Cadolle has held its throat high! Memory If you're passing through Paris, you might go to Chanel! Then stop in front of 4 rue Cambon and realize that in the 1920s, a very refined and wealthy clientele used to flock to Cadolle to have very elegant lingerie made. Les Belles of the 20's dreamed of being dressed, so to speak, by Herminie Cadolle. It is in this prestigious artery that in 1911 Herminie Cadolle, a strong-willed, hard-working and determined woman, settled in! She chose this address, conscious that this location was the ideal place for her activity. END © Geneviève Fontan, 2020

Marie-Pierre Bernard is the designer who created the Himalaya bag for Hermès, in the Symbiose Collection, for which she designed each piece. The Symbiose Line, created in 1986, brings together twelve bags recognisable by their original character. These are ceremonial bags with a surrealist design. The Himalaya bag, flagbag of the Collection, has a double attraction: it will be the unusual handbag for fashionistas or the sculpture bag to be placed on a piece of furniture for art lovers, because it is indeed a work of art. It goes without saying that both options are compatible. Marie-Pierre Bernard is the daughter of the famous car manufacturer Pierre Bernard. Himalaya bag Hermès line Symbiose - Unique autographed model, presented in its display case specially designed by Marie-Pierre Bernard Pierre Bernard (1922-1991) Pierre Bernard, a car manufacturer, is considered one of the greatest patrons of futuristic architecture. He financed the research of Antti Lovag, this Hungarian architect with a creative madness, very much ahead of his time. We owe him the Palais Bulles in Théoule-sur-Mer, a 1200m2 villa originally designed for Pierre Bernard, which Pierre Cardin bought when the latter died in 1991. Marie-Pierre Bernard The young woman, a graduate of the Beaux-Arts de Lyon in the architecture-sculpture discipline, has all the assets to create, with method and mastery, in total freedom of expression. She will not be denied. Marie-Pierre Bernard has this discreet and mysterious beauty that intrigues and questions. She shows herself little and the sunken face we know of her is that of a pensive person, perhaps also preoccupied. Her daring creations for the Hermès Collection were greeted with "awe", like Picasso's first works. They are now collector's items in the history of the 20th century handbag. In 1982, Marie-Pierre Bernard expressed her desire to launch herself into haute couture. Her father, Pierre Bernard, who was passionate about art in all its forms, encouraged her and agreed that his Group would finance his daughter's creative and promising desires. This is how a large workshop-boutique opened at 177 avenue du Maine in Paris under the sign "Pour Échanger Quelques Mots". The façade, decorated with a spectacular trompe-l'oeil by Fabio Rieti, is like a wink, which speaks volumes about the personality of the owner of the establishment. First and last collection of Marie-Pierre Bernard Marie-Pierre Bernard's first collection, made in the rarest skins, is inaugurated in the presence of an observant Tout-Paris, in her studio on the Avenue du Maine. The designer did not need a sympathetic clientele, success was at her doorstep, all the pieces presented found takers. It is quite naturally that the designer prepares, with joy in her heart, her second collection. Inspiration does not wait to manifest itself. She works with a passion and a desire that no one can curb. She applies herself and does not count the long working days that invade her life. She works to make everything perfect. This second collection, conceived and worked on with an immense desire to succeed solemnly, will not see the light of day. Indeed, her father, Pierre Bernard, had to give up the management of the Bernard Group for health reasons, leaving it to his son Jean-Patrice and their half-sister. And then everything became complicated for Marie-Pierre. The heirs decide to close the workshop on the Avenue du Maine "without notice". Marie-Pierre Bernard was left speechless and plunged into deep distress. Her father tries in vain to mediate with the new management, but Jean-Patrice Bernard, the new boss, remains inflexible. After "To exchange a few words" In an attempt to get out of her depressed state, her husband suggested that she contact fashion houses with which she could collaborate. Her first thought was Hermès, but in its 150-year history, Hermès had never entrusted the creation of its leather goods to an outside designer! You just have to believe! is not a bad thought. While her brother's employees dismantled the trompe-l'oeil in Rieti, moved the entire workshop and ruthlessly dismissed the staff, Marie-Pierre Bernard was confined in great despair. And it was at this moment that Cyrano de Bergerac intervened. You will understand. Marie-Pierre Bernard's husband, a writer, has the ability to turn perilous situations around. He puts himself in Christian de Neuvillette's shoes and writes a letter to Roxane (Jean-Louis Dumas, then President of Hermès). Once the letter has been posted, it is enough to believe in it to stir up positive thoughts. Marie-Pierre, watching for the postman, recognises the Hermès logo on the ivory-coloured matt paper envelope in her letterbox. Her heart is beating fast. Weakened by events, she does not dare open it, convinced that the reply is a courtesy. She waits for her husband to return so that he can read the letter and tell her the news himself, with care. Her husband reads the letter aloud after reading it. Marie-Pierre is delighted. Jean-Louis Dumas tells her in his beautiful handwriting that every time he walked down Avenue du Maine on his way back from the airport, he looked at the trompe l'oeil in Rieti. So much so that he had gone into the shop to stroll around and had admired the originality of the leather work on the models on display. The letter ended with an invitation to come and show him all his conceptual work. Arrival at Hermès After several meetings and passionate debates on creativity in fashion and leather goods, Jean-Louis Dumas gave Marie-Pierre Bernard carte blanche to design a collection of bags in three months. However, he expressed reservations, insisting that the design should not deviate from the Hermès style. Marie-Pierre Bernard worked on projects. Then, as the deadline approached, she asked her husband what he thought of her designs. She would not regret it. Her husband frankly told her his position and complained that he had taken J.L.D.'s recommendation to the letter: "the design should not deviate from the Hermès style". Restrained by this "threat", M.P. Bernard was unable to express herself according to her emotional and creative inspirations. In fact, she is not as satisfied with her work as she should be. Recognising that her attempts were not exciting, she tore up her drawings to go back to the ideas that were galloping in her imagination and there the royal road opened up to her. She had to be quick, the deadline was approaching! As an architect, she draws the plans as she would draw an architectural concept. The Symbiosis line is "centuries" away from the scoop or the reticule. The result is an explosion of bags with a crazy design and a shocking effect. J.LD approves and gives the name Symbiose, or Insane Classics to this Collection whose flagbag is the Himalaya bag. At the top of long efforts... the Himalayas This is the only Hermès bag, named Himalaya. It was designed by Marie-Pierre Bernard. The name "Himalaya" comes from the fact that when Jean Louis Dumas launched the Symbiose collection, he felt that the boldness of the design (colours, mixtures of materials, destructuring of shapes) was similar to the feat of climbing a mountain like the Himalayas. It is for this reason that the flagship model of the collection was named by Jean-Louis Dumas. Croquis originaux Starting with a Kelly, the designer worked on the structure of the bag, not hesitating to upset the sharp angles and to split the folded sides. The clasp that tipped over into the void kept its straps. Kelly's metamorphosis Press advertising For clarification, the Birkin bag, colloquially known as the Himalaya bag, is a crocodile Birkin bag made from Tibetan skin: Himalayan crocodile niloticus skin The sculpture work Starting from the obvious fact that the Himalaya bag is a work of art, in this case a sculpture made up of an assembly of classic and exotic leathers that cover the structure of a handbag, Marie-Pierre Bernard has given a follow-up to the unique work of the Himalaya bag that she created and that Jean Louis Dumas offered her. It is a bit like the intimate story of the sculptor and the founder. For the dedicated Himalaya bag, MPB designed a display case with a red lacquered metal frame with three panels where each side panel retraces the history and creation of the Himalaya bag. Bags from the Symbiose or Insane Classics line Symbiosis is a name that comes from the ancient Greek for "two lives together". The Symbiosis Collection includes 12 bags. Blue Gardenia, Caroline, Comète, Himalaya, Madison, New Amsterdam, Président, Sari, Sumo, Sumac, Union Jack, Yorkshire For the designer Symbiose turns codes upside down in beauty. Symmetry loses all meaning. The intermingling of colours is most welcome. Crocodiles, lizards and ostriches rub shoulders with cows and lambs. Obliques, circles, cut-outs and a wide variety of geometric shapes are enchantingly interwoven or superimposed. Président Comète,1989 Sumac Blue Gardenia New Amsteram Madison Caroline Sari visual in research Union Jack visual in research Yorkshire visual in research Press clippings c. 1986 Photos and original drawings, (Marie-Pierre Bernard archives) Texts after Marie-Pierre Bernard END If you have any comments or information to contribute, please write to us