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SUZANNE BELPERRON BAGUE AMÉTHYSTES ET RUBIS Sugarloaf cabochon amethyst, calibré-cut amethysts and rubies, French assay mark for platinum (950‰), circa 1940 Olivier Baroin, 2025: Certificate of Authenticity n°251203, original piece manufactured circa 1940 for Suzanne Belperron Main amethyst: for an approximate weight of 6.20-6.60 carats Size/Dimensions: EU ring size 43¹⁄₂/ US ring size 2¹⁄₄ Gross weight: 17.79 grams

SUZANNE BELPERRON BAGUE AMÉTHYSTES ET RUBIS

Estimation : 25000 - 40000 €

Maison de vente : Christie’s

Date de la vente : 17/12/2025

SUZANNE BELPERRON BAGUE SAPHIR ET SAPHIR DE COULEUR ’DOUBLE CORPS’ Oval-shaped sapphire of 5.72 carats and oval-shaped coloured sapphire of 5.24 carats, French assay mark for 18K yellow gold (750‰), April 1967 SSEF, 2025, report n°149439: sapphire of 5.724 carats, Ceylon (Sri Lanka), no indications of heating / coloured sapphire of 5.246 carats, Ceylon (Sri Lanka), indications of heating Olivier Baroin, 2025: Certificate of Authenticity n°251205, original piece manufactured in April 1967 for Suzanne Belperron Size/Dimensions: EU ring size 50/ US ring size 5¹⁄₄ Gross weight: 13.40 grams

SUZANNE BELPERRON BAGUE SAPHIR ET SAPHIR DE COULEUR ’DOUBLE CORPS’

Estimation : 40000 - 50000 €

Maison de vente : Christie’s

Date de la vente : 17/12/2025

Suzanne Belperron Of bib design, featuring oval-, pear-shaped and cushion-cut pink topazes and morganites, oval-, pear- and half-moon-shaped aquamarines and marquise-, pear-shaped, old European-cut and round diamonds, length approximately 14¼ inches, unsigned, with French assay marks; 1966. Accompanied by Certificate of Authenticity no. 251007g by Olivier Baroin dated October 7, 2025 stating that the piece was manufactured in September 1966. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 225 for an illustration of this necklace. Belperron had an intuitive sense of color and was said to select specific gemstones from trays full of candidates "because they winked at her." While many of the jewels in the collection employ and all-white palette, several pieces incorporate unexpected yet harmonious color combinations. Belperron’s exploration of contrasting colors is realized beautifully in lot 17, an exquisite bib necklace set with a symphony of pinks and blues--morganites, pink topazes and aquamarines--highlighted by old-cut diamonds. The other bib necklace in the collection, and the one more readily identifiable as the work of Belperron with its cabochon sapphires, showcases subtle shifts in shade and tone with in a single-color family (lot 11). She expanded this monochromatic approach in the brooches offered as lots 32 and 10 by trimming aquamarines and chalcedony with sapphires. Location courtesy of M. Olivier Baroin, Image #4. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 250000 - 350000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron The carved rock crystal accented by bezel-set old European-cut diamonds, internal circumference approximately 6 inches; circa 1935. Accompanied by Certificate of Authenticity no. 251007p by Oliver Baroin dated October 7, 2025 stating that the piece was manufactured circa 1935. Sylvie Raulet and Olivier Baroin, Suzanne Belperron, Woodbridge, 2011, p. 60 for a pair of bracelets of identical design and p. 290 for a press cutting from the Vogue Beauty Book, dated April 1936 from the personal archives of Suzanne Belperron showing a similar bracelet. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 103 where this bracelet is illustrated and p. 99 for the ’natte’ bracelet executed in rose quartz and rubies. Many of Suzanne Belperron’s most iconic creations feature transparent and translucent stone. She became renowned in the 1920s and ‘30s for her impressively-sized jewels incorporating massive yet ethereal carved rock crystal and subtly colored chalcedony.  These can often seem as striking and modern today as they were when they were first made. Belperron worked closely with the talented lapidary Adrien Louart, who supplied her with custom-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 combinations of materials. This collection includes ten jewels that feature carved 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 brooches, lots 16 and 50, employ angular rock crystal shapes while lot 15 has a stepped tubular form. Of particular note is lot 14, a simple clip of carved rock crystal that Suzanne Belperron chose to wear in her portrait by photographer Horst P. Horst (reproduced on page 11). One of the most consistent and striking features of Belperron jewels is their scale and volume. There was a general trend of geometric jewelry becoming less delicate and more substantial as the 1920s turned into the 1930s, but Belperron was very much in the vanguard of this, designing her rotund “Bibendum” ring by 1919 before she began working for René Boivin. Her work helped to popularize the large, bulky jewelry that the contemporary fashion press sometimes described as “barbaric” style. Her carved rock crystal and chalcedony creations exemplify this fashion, but even gold wirework takes on a solid volumetric aspect. Lot 6, a pair of gold and diamond cuffs designed to resemble the frilled paper sometimes used to decorate meat bones, uses thin gold wires to form a volumetric shape. Lot 7, a crescent-shaped gold and cultured pearl brooch looks almost as though it has been inflated with air. Location courtesy of M. Olivier Baroin, Image #5. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 100000 - 150000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron Designed as a fan, the carved rock crystal decorated with old mine- and old European-cut diamonds, French assay marks and maker’s mark for Groëné et Darde; 1933-1937. With signed box. Accompanied by Certificate of Authenticity no. 251007r by Oliver Baroin dated October 7, 2025 stating that Groëné et Darde manufactured the piece between 1933 and 1937. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, page 70 for an illustration of these clip-brooches. Many of Suzanne Belperron’s most iconic creations feature transparent and translucent stone. She became renowned in the 1920s and ‘30s for her impressively-sized jewels incorporating massive yet ethereal carved rock crystal and subtly colored chalcedony.  These can often seem as striking and modern today as they were when they were first made. Belperron worked closely with the talented lapidary Adrien Louart, who supplied her with custom-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 combinations of materials. This collection includes ten jewels that feature carved 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 brooches, lots 16 and 50, employ angular rock crystal shapes while lot 15 has a stepped tubular form. Of particular note is lot 14, a simple clip of carved rock crystal that Suzanne Belperron chose to wear in her portrait by photographer Horst P. Horst (reproduced on page 11). Location courtesy of M. Olivier Baroin, Image #5. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 80000 - 120000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron Designed as stylized fans, composed of carved rock crystal, embellished with rose- and old mine-cut diamonds, with partial French workshop marks for Groëné et Darde; 1933-1937. Accompanied by Certificate of Authenticity no. 251007s by Oliver Baroin dated October 7, 2025 stating that Groëné et Darde manufactured the pieces between 1933 and 1937. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 41, for an illustration of these brooches. Sylvie Raulet and Olivier Baroin, Suzanne Belperron, Lausanne, 2011, p. 219, for a brooch of similar design. Many of Suzanne Belperron’s most iconic creations feature transparent and translucent stone. She became renowned in the 1920s and ‘30s for her impressively-sized jewels incorporating massive yet ethereal carved rock crystal and subtly colored chalcedony.  These can often seem as striking and modern today as they were when they were first made. Belperron worked closely with the talented lapidary Adrien Louart, who supplied her with custom-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 combinations of materials. This collection includes ten jewels that feature carved 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 brooches, lots 16 and 50, employ angular rock crystal shapes while lot 15 has a stepped tubular form. Of particular note is lot 14, a simple clip of carved rock crystal that Suzanne Belperron chose to wear in her portrait by photographer Horst P. Horst (reproduced on page 11). Location courtesy of M. Olivier Baroin, Image #3. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 60000 - 80000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron Of geometric design, the carved rock crystal centering an onyx square bezel set with old European-cut diamonds and featuring a button-shaped pearl, framed by rose-cut diamonds, with black lacquer and onyx detailing, with French assay marks and workshop marks for Groëné et Darde; circa 1935 Accompanied by Certificate of Authenticity no. 251007y by Oliver Baroin dated October 7, 2025 stating that Groëné et Darde manufactured the piece circa 1935. Please note that the pearl has not been tested for natural origin. Sylvie Raulet and Olivier Baroin, Suzanne Belperron, Woodbridge, 2011, p. 63 for the design of a similar clip dated between 1932 and 1939. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 60 for a similar clip originally in the collection of Mrs William Paley. Many of Suzanne Belperron’s most iconic creations feature transparent and translucent stone. She became renowned in the 1920s and ‘30s for her impressively-sized jewels incorporating massive yet ethereal carved rock crystal and subtly colored chalcedony.  These can often seem as striking and modern today as they were when they were first made. Belperron worked closely with the talented lapidary Adrien Louart, who supplied her with custom-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 combinations of materials. This collection includes ten jewels that feature carved 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 brooches, lots 16 and 50, employ angular rock crystal shapes while lot 15 has a stepped tubular form. Of particular note is lot 14, a simple clip of carved rock crystal that Suzanne Belperron chose to wear in her portrait by photographer Horst P. Horst (reproduced on page 11). Location courtesy of M. Olivier Baroin, Image #3. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 40000 - 60000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron Composed of five pendants in the form of fuchsia flowerheads, set with round, old European-and single-cut diamonds, with stems and articulated stamens set with baguette diamonds, accompanied by a gold U-shaped necklace element, with partial workshop marks for Groëné et Darde; pendants 1949, necklace element 1972. Accompanied by an original tracing by Suzanne Belperron depicting the pendants. Accompanied by Certificate of Authenticity no. 251007w by Oliver Baroin dated October 7, 2025 stating that Groëné et Darde manufactured the pendants as brooches in December 1949 and that the pinstems were removed as part of a conversion project in 1972. Accompanied by Certificate of Authenticity no. 251007x by Oliver Baroin dated October 7, 2025 stating that the necklace element was designed and likely manufactured in 1972. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 215 for photograph of these pendants laid over the necklace element along with the original tracing by Suzanne Belperron. Suzanne Belperron’s fondness for botanical motifs is not unusual for a jeweler, but her interpretations of them were idiosyncratic, modern and highly innovative. She pared them down to their essential outlines or simplified them, sometimes to the point of abstraction. A chalcedony and diamond clip-brooch depicting a stylized bunch of grapes (lot 39) has the spare, monumental quality of a piece of modern sculpture. She also created a number of jewels based on leaves and branches. Lots 10 and 38, composed of chalcedony and diamond, and gold and jade respectively, are realistic, albeit streamlined, representations of plant motifs. Later in her career Belperron began to incorporate a greater number of transparent, faceted gemstones, as seen in the pair of sapphire and diamond ‘Branche’ clip-brooches (lot 32). Here, solidity and volume are replaced with sinuous and flattened forms, the optical properties of the gemstones projecting a lightness that marks a distinct progression of her style. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 60000 - 100000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron Designed as a textured gold stylized lily pad, the bud and stem pavé set with round and single-cut diamonds, with French assay marks and workshop marks for Groëné et Darde; 1946. Accompanied by Certificate of Authenticity no. 251007e by Oliver Baroin dated October 7, 2025 stating that Groëné et Darde manufactured the piece in September 1946. Sylvie Raulet and Olivier Baroin, Suzanne Belperron, Woodbridge, 2011, p. 139 plate 22 for the original plaster cast of this brooch. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 90 for an illustration of this brooch. Belperron admired the richness of the high-karat gold used in the jewelry of ancient Greece, but to create large-scaled designs in this material was simply impractical: it added cost and a tremendous amount of weight. This led her jeweler, Émile Darde, to develop a technique whereby 22-karat gold was overlaid onto a more rigid 18-karat gold base. The more pliable outer layer could then be worked to create unpolished-looking textures in what Belperron referred to as "or vierge" or "virgin gold." Lot 44, a clip-brooch in the form of a stylized lily pad, is rendered in this material as is lot 43, a pair of clip-brooches that have been converted from earclips. During World War II, when gold was extremely scarce and expensive, Belperron once again explored new techniques to achieve the looks she wanted. Lots 5 and 6, for example, incorporate spiral motifs and wirework to maximize volume and visual impact. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 20000 - 30000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron The textured gold bow motifs accented by single-cut diamonds, with French assay marks; 1946 with later alterations. Accompanied by Certificate of Authenticity no. 251007o by Olivier Baroin dated October 7, 2025 stating that the pieces were manufactured in June 1946. Belperron admired the richness of the high-karat gold used in the jewelry of ancient Greece, but to create large-scaled designs in this material was simply impractical: it added cost and a tremendous amount of weight. This led her jeweler, Émile Darde, to develop a technique whereby 22-karat gold was overlaid onto a more rigid 18-karat gold base. The more pliable outer layer could then be worked to create unpolished-looking textures in what Belperron referred to as "or vierge" or "virgin gold." Lot 44, a clip-brooch in the form of a stylized lily pad, is rendered in this material as is lot 43, a pair of clip-brooches that have been converted from earclips. During World War II, when gold was extremely scarce and expensive, Belperron once again explored new techniques to achieve the looks she wanted. Lots 5 and 6, for example, incorporate spiral motifs and wirework to maximize volume and visual impact. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 20000 - 30000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron The clip-brooch of cluster design set with oval- and pear-shaped aquamarines and round and pear-shaped sapphires, the ring centering an emerald-cut aquamarine accented by round aquamarines and pear-shaped sapphires, size 5½, with French assay marks and workshop marks for Darde et Fils; 1965. With a fitted box. Accompanied by Certificate of Authenticity no. 251007h dated October 7, 20 by Oliver Baroin 25 stating that Darde et Fils manufactured the clip-brooch in January 1965. Accompanied by Certificate of Authenticity no. 251007i by Oliver Baroin dated October 7, 2025 stating that Darde et Fils manufactured the ring in January 1965. Sylvie Raulet and Olivier Baroin, Suzanne Belperron, Woodbridge, 2011, pp. 141-42 for an illustration of these pieces. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 15000 - 20000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron Of carved two-tone chalcedony set with a round amethyst cabochon, internal circumference approximately 5¾ inches; circa 1935. With box signed B. Herz. Accompanied by Certificate of Authenticity by Oliver Baroin dated October 7, 2025 stating that the piece was manufactured circa 1935. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 23 for an illustration of this cuff-bracelet. Sylvie Raulet and Olivier Baroin, Suzanne Belperron, Lausanne, 2011, p. 80 for a photograph of the bracelet as part of a parure from French Vogue in March 1935 and p. 287 for a photograph of a similar cuff-bracelet set with a pearl from British Vogue in 1936. Bijoux Art Déco et Avant-Garde, Les Arts Decoratifs, Norma Editions, Paris, 2009, p. 80 for the same photograph of the bracelet from French Vogue. Many of Suzanne Belperron’s most iconic creations feature transparent and translucent stone. She became renowned in the 1920s and ‘30s for her impressively-sized jewels incorporating massive yet ethereal carved rock crystal and subtly colored chalcedony.  These can often seem as striking and modern today as they were when they were first made. Belperron worked closely with the talented lapidary Adrien Louart, who supplied her with custom-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 combinations of materials. This collection includes ten jewels that feature carved 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 brooches, lots 16 and 50, employ angular rock crystal shapes while lot 15 has a stepped tubular form. Of particular note is lot 14, a simple clip of carved rock crystal that Suzanne Belperron chose to wear in her portrait by photographer Horst P. Horst (reproduced on page 11). Location courtesy of M. Olivier Baroin, Image #5. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 80000 - 120000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron Designed as a stylized bunch of grapes, composed of carved chalcedony, studded with old mine and old European-cut diamonds, with French assay marks and workshop marks for Sté Groëné & Darde; circa 1935. Accompanied by Certificate of Authenticity no. 251007c by Oliver Baroin dated October 7, 2025 stating that Groëné & Darde manufactured the piece circa 1935. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 24 for a photograph of this clip along with its original design drawing. Sylvie Raulet and Olivier Baroin, Suzanne Belperron, Lausanne, 2011, pp. 123, 241 and 242 for similar clips. Many of Suzanne Belperron’s most iconic creations feature transparent and translucent stone. She became renowned in the 1920s and ‘30s for her impressively-sized jewels incorporating massive yet ethereal carved rock crystal and subtly colored chalcedony.  These can often seem as striking and modern today as they were when they were first made. Belperron worked closely with the talented lapidary Adrien Louart, who supplied her with custom-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 combinations of materials. This collection includes ten jewels that feature carved 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 brooches, lots 16 and 50, employ angular rock crystal shapes while lot 15 has a stepped tubular form. Of particular note is lot 14, a simple clip of carved rock crystal that Suzanne Belperron chose to wear in her portrait by photographer Horst P. Horst (reproduced on page 11). Suzanne Belperron’s fondness for botanical motifs is not unusual for a jeweler, but her interpretations of them were idiosyncratic, modern and highly innovative. She pared them down to their essential outlines or simplified them, sometimes to the point of abstraction. A chalcedony and diamond clip-brooch depicting a stylized bunch of grapes (lot 39) has the spare, monumental quality of a piece of modern sculpture. She also created a number of jewels based on leaves and branches. Lots 10 and 38, composed of chalcedony and diamond, and gold and jade respectively, are realistic, albeit streamlined, representations of plant motifs. Later in her career Belpoerron began to incorporate a greater number of transparent, faceted gemstones, as seen in the pair of sapphire and diamond ‘Branche’ clip-brooches (lot 32). Here, solidity and volume are replaced with sinuous and flattened forms, the optical properties of the gemstones projecting a lightness that marks a distinct progression of her style. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 40000 - 60000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron Of foliate design, featuring oval-shaped jade cabochons, with French assay marks and partial workshop marks for Groëné & Darde; 1942-1955. Accompanied by Certificate of Authenticity No. 251007a by Olivier Baroin dated October 7, 2025 stating that Groëné & Darde manufactured the piece between 1942 and 1955. Suzanne Belperron’s fondness for botanical motifs is not unusual for a jeweler, but her interpretations of them were idiosyncratic, modern and highly innovative. She pared them down to their essential outlines or simplified them, sometimes to the point of abstraction. A chalcedony and diamond clip-brooch depicting a stylized bunch of grapes (lot 39) has the spare, monumental quality of a piece of modern sculpture. She also created a number of jewels based on leaves and branches. Lots 10 and 38, composed of chalcedony and diamond, and gold and jade respectively, are realistic, albeit streamlined, representations of plant motifs. Later in her career Belpoerron began to incorporate a greater number of transparent, faceted gemstones, as seen in the pair of sapphire and diamond ‘Branche’ clip-brooches (lot 32). Here, solidity and volume are replaced with sinuous and flattened forms, the optical properties of the gemstones projecting a lightness that marks a distinct progression of her style. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 20000 - 30000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron Designed as a bunch of abalone grapes with carved chalcedony leaves, with partial French assay marks and workshop mark for Société Groëné et Darde; 1942-1955. Accompanied by Certificate of Authenticity no. 251007b by Olivier Baroin dated October 7, 2025 stating that Groëné et Darde manufactured the piece between 1942 and 1955. Sylvie Raulet and Olivier Baroin, Suzanne Belperron, Woodbridge, 2011, p. 252 for this brooch. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 104 for this brooch illustrated on its original design drawing. Suzanne Belperron’s fondness for botanical motifs is not unusual for a jeweler, but her interpretations of them were idiosyncratic, modern and highly innovative. She pared them down to their essential outlines or simplified them, sometimes to the point of abstraction. A chalcedony and diamond clip-brooch depicting a stylized bunch of grapes (lot 39) has the spare, monumental quality of a piece of modern sculpture. She also created a number of jewels based on leaves and branches. Lots 10 and 38, composed of chalcedony and diamond, and gold and jade respectively, are realistic, albeit streamlined, representations of plant motifs. Later in her career Belpoerron began to incorporate a greater number of transparent, faceted gemstones, as seen in the pair of sapphire and diamond ‘Branche’ clip-brooches (lot 32). Here, solidity and volume are replaced with sinuous and flattened forms, the optical properties of the gemstones projecting a lightness that marks a distinct progression of her style. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 25000 - 35000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron Of stylized foliate design, set with pear-shaped sapphires and pear- and marquise-shaped diamonds, with French assay marks and a partial workshop mark for Groëné et Darde; 1942-1955. Accompanied by Certificate of Authenticity no. 251007v by Olivier Baroin dated October 7, 2025 stating that Groëné et Darde manufactured the pieces between 1942 and 1955. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 198 for an illustration of these clip-brooches Suzanne Belperron’s fondness for botanical motifs is not unusual for a jeweler, but her interpretations of them were idiosyncratic, modern and highly innovative. She pared them down to their essential outlines or simplified them, sometimes to the point of abstraction. A chalcedony and diamond clip-brooch depicting a stylized bunch of grapes (lot 39) has the spare, monumental quality of a piece of modern sculpture. She also created a number of jewels based on leaves and branches. Lots 10 and 38, composed of chalcedony and diamond, and gold and jade respectively, are realistic, albeit streamlined, representations of plant motifs. Later in her career Belpoerron began to incorporate a greater number of transparent, faceted gemstones, as seen in the pair of sapphire and diamond ‘Branche’ clip-brooches (lot 32). Here, solidity and volume are replaced with sinuous and flattened forms, the optical properties of the gemstones projecting a lightness that marks a distinct progression of her style. Belperron had an intuitive sense of color and was said to select specific gemstones from trays full of candidates "because they winked at her." While many of the jewels in the collection employ and all-white palette, several pieces incorporate unexpected yet harmonious color combinations. Belperron’s exploration of contrasting colors is realized beautifully in lot 17, an exquisite bib necklace set with a symphony of pinks and blues--morganites, pink topazes and aquamarines--highlighted by old-cut diamonds. The other bib necklace in the collection, and the one more readily identifiable as the work of Belperron with its cabochon sapphires, showcases subtle shifts in shade and tone with in a single-color family (lot 11). She expanded this monochromatic approach in the brooches offered as lots 32 and 10 by trimming aquamarines and chalcedony with sapphires. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron

Estimation : 60000 - 80000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

René Boivin Of bombé design, decorated with a scale motif set with old European-cut diamonds surmounted by tiers of round and old European-cut diamonds, unsigned, with French assay marks; 1940. Accompanied by René Boivin Certificate of Authenticity no. 202510YPE dated October 24, 2025 stating that the piece was manufactured by René Boivin in 1940 after a drawing by Suzanne Belperron. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 36 for an illustration of this clip. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

René Boivin

Estimation : 30000 - 50000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

Suzanne Belperron for René Boivin Of geometric design, the octagonal rock crystal embellished with pear-shaped and old mine-cut diamonds, accented by rose-cut diamonds, with partial French assay marks and workshop mark for Groëné et Darde; circa 1930. Accompanied by René Boivin Certificate of Authenticity no. 202510YPS by dated October 24, 2025 stating that the piece was manufactured by René Boivin circa 1930 after a design by Suzanne Belperron. Patricia Corbett, Ward Landrigan and Nico Landrigan, Jewelry by Suzanne Belperron, London, 2015, p. 61 for this brooch. Françoise Cailles, René Boivin Joailliers, Paris, 1994, p. 121 for a brooch of similar design by René Boivin dated to 1934 and p. 125 for the design drawing of a similar brooch. Many of Suzanne Belperron’s most iconic creations feature transparent and translucent stone. She became renowned in the 1920s and ‘30s for her impressively-sized jewels incorporating massive yet ethereal carved rock crystal and subtly colored chalcedony.  These can often seem as striking and modern today as they were when they were first made. Belperron worked closely with the talented lapidary Adrien Louart, who supplied her with custom-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 combinations of materials. This collection includes ten jewels that feature carved 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 brooches, lots 16 and 50, employ angular rock crystal shapes while lot 15 has a stepped tubular form. Of particular note is lot 14, a simple clip of carved rock crystal that Suzanne Belperron chose to wear in her portrait by photographer Horst P. Horst (reproduced on page 11). Location courtesy of M. Oliver Baroin, Image #4. Forever Modern Suzanne Belperron Suzanne Belperron (1900-1983), née Vuillerme, was born in the village 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, Suzanne’s father took a position in Bésançon and it was here, at the age 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 father had passed away, and it was therefore highly fortuitous that the school was not only free but open to female students. She showed a natural facility for design and draftsmanship, and her surviving designs from this period exhibit hints of the sculptural and geometric qualities of her later 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 prominent and successful house known for its innovative designs and cultured clientele. Upon René Boivin’s death in 1917, his widow Jeanne, the sister 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 years. Belperron’s experience at the company was to have a profound impact upon her career. Madame Boivin served as the young designer’s mentor as her style and position advanced within the firm, elevating her to the role of co-director in 1924. The house’s tendency to eschew advertising 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 jewels created during Suzanne Belperron’s years at René Boivin. Lots 15 and 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. In 1932 Suzanne left René Boivin and began a collaboration with noted gemstone and pearl dealer Bernard Herz. Belperron became the sole designer and director for the newly formed Maison Herz. The two opened a private salon on Rue de Châteaudun that quickly began to attract discerning and prominent clients. Groëné & Darde, a jewelry workshop owned by Maurice Groëné and Émile Darde with whom she had worked while at René Boivin, became her dedicated manufacturers. Belperron’s jewels became constant fixtures in the fashion press during the 1930s, appearing frequently in publications 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 that time. Always extremely stylish and traveling in sophisticated circles, she sometimes appeared in the contemporary fashion press alongside her creations. Her high-profile clients included some of the most celebrated figures of the era, including Daisy Fellowes, Mona Bismarck, the Duke and Duchess of Windsor, Ganna Walska, Princess Agha Khan, Adele Astaire and Diana Vreeland. Despite her prominence, she continued to decline to sign her jewelry, explaining, “My style is my signature.” The year 1941 brought tragedy to the firm when it was confiscated by the occupying Nazi government due to Bernard Herz’s Jewish origins. Belperron purchased the company herself, with Herz’s assistance, renaming it Suzanne Belperron. 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 appreciation 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, adapting 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 occasional projects until her death in 1983. In the late 1980s, the heirs to the Maison Herz-Belperron sought a custodian who would preserve Belperron’s legacy with the same integrity that characterized her career. They approached Ward Landrigan—then owner of Verdura and formerly head of Sotheby’s Jewelry Department in New York—who had gained international recognition for his careful stewardship of the Verdura archives. In 1999, Landrigan acquired the rights to the Belperron brand as well as an extensive archive of over 9,300 gouache designs and tracings, wax models, molds and inventory books. These materials not only document her remarkable career 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 collectors 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. While other jewelry houses have produced jewels that fall in-and-out of fashion, the designs of Suzanne Belperron never look dated. For more than one hundred years, her signature style has never lost its edge.

Suzanne Belperron for René Boivin

Estimation : 30000 - 50000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025