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SUMMARY:suzanne-belperron-for-ren-boivin - Date de vente : 08/12/2025
DESCRIPTION:Nom du lots : Suzanne Belperron for René Boivin\n\nOf geometri
 c design\, the octagonal rock crystal embellished with pear-shaped and old
  mine-cut diamonds\, accented by rose-cut diamonds\, with partial French a
 ssay marks and workshop mark for Groëné et Darde\; circa 1930.\n\nAccomp
 anied by René Boivin Certificate of Authenticity no. 202510YPS by dated O
 ctober 24\, 2025 stating that the piece was manufactured by René Boivin c
 irca 1930 after a design by Suzanne Belperron.\n\nPatricia Corbett\, Ward 
 Landrigan and Nico Landrigan\, Jewelry by Suzanne Belperron\, London\, 2
 015\, p. 61 for this brooch.\n\nFrançoise Cailles\, René Boivin Joailli
 ers\, Paris\, 1994\, p. 121 for a brooch of similar design by René Boivi
 n dated to 1934 and p. 125 for the design drawing of a similar brooch.\n\n
 Many of Suzanne Belperron’s most iconic creations feature transparent an
 d translucent stone. She became renowned in the 1920s and ‘30s for her i
 mpressively-sized jewels incorporating massive yet ethereal carved rock cr
 ystal and subtly colored chalcedony.  These can often seem as striking a
 nd modern today as they were when they were first made. Belperron worked c
 losely with the talented lapidary Adrien Louart\, who supplied her with cu
 stom-carved rock crystal and chalcedony to create cuff-bracelets\, rings\,
  brooches\, earclips and cufflinks. He developed a technique for setting 
 gemstones directly into hardstones that allowed her to create novel combin
 ations of materials. This collection includes ten jewels that feature car
 ved rock crystal and chalcedony. Lots 42 and 53 are cuff bracelets carved
  from single pieces of stone\, one of two-tone chalcedony set with a large
  amethyst cabochon and one of rock crystal set with diamonds. Lots 60 and
  62 combine fan-shaped rock crystal motifs with diamond accents. Two bro
 oches\, lots 16 and 50\, employ angular rock crystal shapes while lot 15 h
 as a stepped tubular form. Of particular note is lot 14\, a simple clip o
 f carved rock crystal that Suzanne Belperron chose to wear in her portrait
  by photographer Horst P. Horst (reproduced on page 11).\n\nLocation court
 esy of M. Oliver Baroin\, Image #4.\n\nForever Modern\n\nSuzanne Belperron
 \n\nSuzanne Belperron (1900-1983)\, née Vuillerme\, was born in the villa
 ge of Saint-Claude in the French Jura region to a family with ties to the 
 area’s lapidary and watchmaking industries. Shortly after her birth\, S
 uzanne’s father took a position in Bésançon and it was here\, at the a
 ge of 16\, she began her training in watchmaking and jewelry decoration at
  the Écoles Municipales de Musique et des Beaux-Arts. By this time her f
 ather had passed away\, and it was therefore highly fortuitous that the sc
 hool was not only free but open to female students. She showed a natural f
 acility for design and draftsmanship\, and her surviving designs from this
  period exhibit hints of the sculptural and geometric qualities of her lat
 er work. In 1919 she moved to Paris where she was hired as a designer by 
 the jewelry firm René Boivin. Founded in 1893\, the company was a promin
 ent and successful house known for its innovative designs and cultured cli
 entele. Upon René Boivin’s death in 1917\, his widow Jeanne\, the sist
 er of famed fashion designer Paul Poiret\, took over as director and went 
 on to lead the house through some of its most influential and prosperous y
 ears.\n\nBelperron’s experience at the company was to have a profound im
 pact upon her career. Madame Boivin served as the young designer’s ment
 or as her style and position advanced within the firm\, elevating her to t
 he role of co-director in 1924. The house’s tendency to eschew advertis
 ing and its avoidance of adding signatures—instead relying upon word-of-
 mouth and loyalty to attract customers—are practices Belperron continued
  throughout her life. The Legacy of Elegance collection includes two jewe
 ls created during Suzanne Belperron’s years at René Boivin. Lots 15 an
 d 16\, two carved rock crystal and diamond brooches made as early as 1928\
 , are masterful examples of Belperron’s work that incorporate the volume
 \, geometry and translucency she would revisit throughout her career.\n\nI
 n 1932 Suzanne left René Boivin and began a collaboration with noted gems
 tone and pearl dealer Bernard Herz. Belperron became the sole designer an
 d director for the newly formed Maison Herz. The two opened a private salo
 n on Rue de Châteaudun that quickly began to attract discerning and promi
 nent clients. Groëné & Darde\, a jewelry workshop owned by Maurice Gro
 ëné and Émile Darde with whom she had worked while at René Boivin\, be
 came her dedicated manufacturers. Belperron’s jewels became constant fi
 xtures in the fashion press during the 1930s\, appearing frequently in pub
 lications such as Vogue and Harper’s Bazaar. Sometimes the jewels were 
 attributed to Maison Herz\, but she was often credited as their designer\,
  an unprecedented degree of recognition for a woman in the industry at tha
 t time. Always extremely stylish and traveling in sophisticated circles\,
  she sometimes appeared in the contemporary fashion press alongside her cr
 eations. Her high-profile clients included some of the most celebrated fi
 gures of the era\, including Daisy Fellowes\, Mona Bismarck\, the Duke and
  Duchess of Windsor\, Ganna Walska\, Princess Agha Khan\, Adele Astaire an
 d Diana Vreeland. Despite her prominence\, she continued to decline to si
 gn her jewelry\, explaining\, “My style is my signature.”\n\nThe year 
 1941 brought tragedy to the firm when it was confiscated by the occupying 
 Nazi government due to Bernard Herz’s Jewish origins. Belperron purchas
 ed the company herself\, with Herz’s assistance\, renaming it Suzanne Be
 lperron. In 1943\, to her horror\, Bernard Herz was deported to Auschwitz
  and killed. When Jean\, Bernard’s son\, was released from captivity in
  1946\, she offered to return the company to the Herz family. In apprecia
 tion of her stewardship throughout the war and her indispensable talent\, 
 Jean offered her a partnership\, and the firm was renamed Herz-Belperron.
  It continued to attract a loyal clientele in the post-war years\, adapti
 ng to changing styles. In 1963 Belperron was made a knight of the Legion 
 of Honor for her contributions to French jewelry design and manufacturing.
  She decided to retire in 1975\, though she continued to work on occasion
 al projects until her death in 1983.\n\nIn the late 1980s\, the heirs to t
 he Maison Herz-Belperron sought a custodian who would preserve Belperron
 ’s legacy with the same integrity that characterized her career. They ap
 proached Ward Landrigan—then owner of Verdura and formerly head of Sothe
 by’s Jewelry Department in New York—who had gained international recog
 nition for his careful stewardship of the Verdura archives. In 1999\, Lan
 drigan acquired the rights to the Belperron brand as well as an extensive 
 archive of over 9\,300 gouache designs and tracings\, wax models\, molds a
 nd inventory books. These materials not only document her remarkable caree
 r and act as a critical resource in authenticating her original creations\
 , but also serve as the creative foundation for each jewel produced today.
  As the steward of the House of Belperron\, Nico Landrigan works with col
 lectors and museums authenticating the original work of Suzanne Belperron.
  The company lives on in a beautiful salon located at 745 Fifth Avenue in
  New York City\, modeled on Suzanne Belperron’s own Paris apartment.\n\n
 While other jewelry houses have produced jewels that fall in-and-out of fa
 shion\, the designs of Suzanne Belperron never look dated. For more than 
 one hundred years\, her signature style has never lost its edge.
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