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拍品專文
In 1921, Suzanne Belperron (née Vuillerme) joined the prestigious jewelry house Boivin as a modelist-designer. During her decade-long tenure working under Jeanne Boivin, the widow of René Boivin, she produced some of the firm’s most remarkable jewels. Rejecting the rigid geometry of the dominant Art Deco style, Belperron’s designs embraced flowing, organic forms and bold, oversized stones, creating a dramatic, modern aesthetic.
In 1932, Belperron left Boivin to make a name for herself. Partnering with her longtime friend and pearl dealer Bernard Herz, she designed exclusively under his company, B. Herz. Maintaining an appointment-only salon at 59 rue de Châteaudon, Belperron attracted a distinguished clientele that included notable figures such as Diana Vreeland. True to her confidence in her craftmanship, she famously stated, “My style is my signature,” and refused to sign her pieces, believing that her distinctive style spoke for itself.
One of Belperron’s most ardent enthusiasts was Elsa Schiaparelli (1890 – 1973), the avant-garde Italian-born fashion designer renowned for her eccentric and surrealist designs. Since establishing her couture house in Paris and presenting her first collection in 1927, Schiaparelli gained a reputation as one of the most groundbreaking designers of her time, prized for her bold use of unconventional Surrealist patterns across a wide range of artistic forms – garments, jewelry and footwear.
Earning historical recognition as the first female fashion designer to be featured on the cover of Time magazine in 1934, Schiaparelli continued to produce works of art that were cherished by influential women who also engaged with Belperron’s creations, such as the Duchess of Windsor. Schiaparelli recognized the innovative spirit of Belperron’s work, and the two women shared a mutual passion for redefining artistic boundaries.
Schiaparelli acquired several pieces of Belperron jewelry, including some of her most iconic creations. Among them was the sapphire demi-parure (Lots 59 and 60), featuring vibrant sapphire cabochons, each with varying shades, intricately woven together within a flexible platinum and gray gold openwork design. Unlike many renowned jewelers who often sourced perfectly matched stones over extended periods of time for a single piece of jewelry, Belperron often used different shades of a single stone to create a unique arrangement, allowing the unique qualities of each stone to come alive.
Each sapphire in the bracelet and necklace was carefully placed to create a harmonious composition. The necklace, in particular, drapes around one’s neck like a bib, a motif that had existed in the Art Deco period but was reimagined by Belperron. While earlier bib designs often featured geometric, structured arrangements, Belperron’s creation invoked a sense fluidity through the use of round cabochons arranged in an organic pattern. Produced shortly after the inception of Belperron’s partnership with Herz, this necklace set an example for the modern bib motif that later became a prominent theme during mid-century.
Another exquisite piece originally from Schiaparelli’s collection is the diamond ‘Torsade’ bracelet (Lot 61), where sections of diamonds and platinum intertwine to form dynamic sculptural shapes. In 1933, Schiaparelli was featured in the Vogue magazine wearing this example, showcasing Belperron’s signature mastery of curves. This bracelet was produced in multiple variations, one of which was owned by Standard Oil heiress Millicent Rogers.
In 1932, Belperron left Boivin to make a name for herself. Partnering with her longtime friend and pearl dealer Bernard Herz, she designed exclusively under his company, B. Herz. Maintaining an appointment-only salon at 59 rue de Châteaudon, Belperron attracted a distinguished clientele that included notable figures such as Diana Vreeland. True to her confidence in her craftmanship, she famously stated, “My style is my signature,” and refused to sign her pieces, believing that her distinctive style spoke for itself.
One of Belperron’s most ardent enthusiasts was Elsa Schiaparelli (1890 – 1973), the avant-garde Italian-born fashion designer renowned for her eccentric and surrealist designs. Since establishing her couture house in Paris and presenting her first collection in 1927, Schiaparelli gained a reputation as one of the most groundbreaking designers of her time, prized for her bold use of unconventional Surrealist patterns across a wide range of artistic forms – garments, jewelry and footwear.
Earning historical recognition as the first female fashion designer to be featured on the cover of Time magazine in 1934, Schiaparelli continued to produce works of art that were cherished by influential women who also engaged with Belperron’s creations, such as the Duchess of Windsor. Schiaparelli recognized the innovative spirit of Belperron’s work, and the two women shared a mutual passion for redefining artistic boundaries.
Schiaparelli acquired several pieces of Belperron jewelry, including some of her most iconic creations. Among them was the sapphire demi-parure (Lots 59 and 60), featuring vibrant sapphire cabochons, each with varying shades, intricately woven together within a flexible platinum and gray gold openwork design. Unlike many renowned jewelers who often sourced perfectly matched stones over extended periods of time for a single piece of jewelry, Belperron often used different shades of a single stone to create a unique arrangement, allowing the unique qualities of each stone to come alive.
Each sapphire in the bracelet and necklace was carefully placed to create a harmonious composition. The necklace, in particular, drapes around one’s neck like a bib, a motif that had existed in the Art Deco period but was reimagined by Belperron. While earlier bib designs often featured geometric, structured arrangements, Belperron’s creation invoked a sense fluidity through the use of round cabochons arranged in an organic pattern. Produced shortly after the inception of Belperron’s partnership with Herz, this necklace set an example for the modern bib motif that later became a prominent theme during mid-century.
Another exquisite piece originally from Schiaparelli’s collection is the diamond ‘Torsade’ bracelet (Lot 61), where sections of diamonds and platinum intertwine to form dynamic sculptural shapes. In 1933, Schiaparelli was featured in the Vogue magazine wearing this example, showcasing Belperron’s signature mastery of curves. This bracelet was produced in multiple variations, one of which was owned by Standard Oil heiress Millicent Rogers.