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Guy Bourdin Guy Bourdin 1928 - 1991 Vogue Paris, December 1976 - January 1977 a label, with the photographer’s estate stamp, signed and editioned 2/18 in ink by Samuel Bourdin, the photographer’s son (on the reverse of the frame) chromogenic print, flush-mounted 60.5 x 91 cm ; 23¾ x 35⅞ in. Executed in 1976-77, printed later, this print is number 2 from an edition of 18. Shine Gallery, London; Probably a gift to Doris Brynner

Guy Bourdin

Estimation : 6000 - 8000 €

Maison de vente : Sotheby’s

Date de la vente : 27/01/2026

Corum Dial: 1904 Double Eagle coin Caliber: cal. 2892A2 automatic, 21 jewels Case: 18k yellow gold and 1904 Double Eagle coin, diamond-set crown, snap on case back Case number: 1’748’289 Closure: 18k yellow gold and enamel Corum buckle Size: 36 mm diameter Signed: case, dial, and movement Box: yes Papers: yes Accessories: Corum presentation box with outer packaging, Certificate of Authenticity Card (undated), International Warranty card (open), cardholder, and booklets While the history of the coin watch can be traced to the early 20th century, this unique blend of horology and numismatics that saw miniature timepieces embedded in a genuine gold coins, or that repurposed coins as dials or watch cases, grew in popularity in the mid-20th century. As the design came in vogue, While we saw various brands such as Piaget, Rolex, Patek Philippe, and Corum adopt the coin watch design as it came in vogue, it was Corum, a brand renown for their creative unconventionality, who is credited with creating the first coin wristwatch in 1964. The popularity and endurance of the coin wristwatch design can be seen in our present timepiece, circa 2015, which features a rare and collectible U.S. Double Eagle coin minted in 1904. By adding lugs to the coin form timepiece designs that were popular in the early 20th century, Corum created a whole new subcategory of collectible wristwatches for the numismatists of the watch collecting community. We are pleased to present this Reference 082.355.56/0001 MU51 in excellent condition complete with its box and papers. Please note that this lot includes endangered species, which will require a CITES permit for export. Please refer to the Guide for Buyers at Auction and Conditions of Business for Buyers for additional information.

Corum

Estimation : 2000 - 4000 €

Maison de vente : Sotheby’s

Date de la vente : 10/12/2025

Paul Flato Featuring a sapphire double cabochon, in a tapered gold mounting, size 7¾, signed Flato; circa 1940. Accompanied by a copy of GIA report no. 6224366420 dated March 23, 2022 stating that the sapphire shows no indications of heating. Paul Flato Paul Flato was one of the biggest names in American jewelry in the mid-20th century; yet, until fairly recently, appreciation for his work’s distinctive style and exuberance was maintained by a small circle of knowledgeable collectors. Born and raised in southeast Texas to a prosperous family of German immigrants, Flato developed an interest in jewelry from a young age. Elizabeth Irvine Bray, whose 2010 book Paul Flato: Jeweler to the Stars has helped return his work to the spotlight, writes that “his earliest encounter with jewelry both terrified and thrilled him.” While hiking in some nearby woods, he and his friends came upon a Gypsy encampment. There, Flato watched with rapt attention as a man fashioned a necklace out of silver wire, an act of creation that was forever burned into his memory. He moved to New York in 1920 to pursue a business degree at Columbia University but left early to apprentice with a Fifth Avenue jeweler.  Soon he was selling his own jewelry, specializing in diamonds and natural pearls. His rise in reputation was nothing short of meteoric and he gained the respect of prominent players including Harry Winston, himself an up-and-coming jeweler, who later worked with Flato on a necklace for the legendary Jonker I diamond. (The Jonker VI is offered as lot 160 in this sale.) A gregarious and charming young man with a great sense of humor, Flato was a natural salesman. He opened an elegant salon at the corner of Fifth Avenue and 57th Street, the location itself a sign of his growing success. He mixed amongst high society, hosting and attending events, collecting clients along the way. While much of his business was word-of-mouth, he provided jewels to Vogue and Harper’s Bazaar, making his name synonymous with high glamour.  He developed a fiercely loyal clientele which allowed his business to remain remarkably unaffected by the stock market crash of 1929. In fact, it was against the backdrop of the Great Depression that he created some of his most spectacular designs. Flato’s dramatic designs found a particularly appreciative audience among the Who’s Who of Hollywood and, in 1938, he opened a salon on LA’s Sunset Boulevard. His timing was perfect. It was the Golden Age of Hollywood, and the studios expected their stars to radiate glamour both on-screen and off.  Flato’s lavish statement jewels were easily picked up by the cameras, serving to enhance the escapist fantasies of moviegoers and readers of the Hollywood press. His contributions to the movie industry were so significant that he was credited for jewelry design in no less than six films including Holiday starring Katharine Hepburn, Blood and Sand with Rita Hayworth and Two-Faced Woman with Greta Garbo. Unfortunately, this celebrity status came at a price. In 1941, his Sunset Boulevard store was robbed by four armed men who made off with nearly $50,000 in jewels. The financial toll would have been far worse had he not just lent his most valuable pieces to Columbia Studios for The Lady is Willing. Flato did his best to put a light-hearted spin on the theft, commissioning a drawing of a gunman with the caption “Everybody Wants Jewels by Flato” for an ad in the Hollywood Reporter. Though everyone did seem to be clamoring for jewels by Flato, he, like many jewelers and fashion designers today, received many requests to borrow—not buy—his jewels, and when his clients did make a purchase, they were often late to pay.  He received a decisive blow, both personally and professionally, when a 17-carat emerald-cut diamond that had been entrusted to him by Fabrikant Jewelers vanished from his safe.  Suspecting Flato may have played a part in its disappearance, other members of the trade asked for their jewels left on memo to be returned immediately. The race to reclaim these goods revealed that he had pawned many of the jewels to cover operating costs. He was arrested and charged with theft and was later forced to sell the company’s assets. The depth of his misfortune could have possibly been softened had he not been so generous in extending credit to his well-to-do clients: Nelson Rockefeller, Mrs. Alfred G. Vanderbilt, Mrs. Frank Gould, Lady Isabel Guinness and Brenda Frazier all appeared with outstanding amounts in his ledgers. To escape his legal woes, he went to Central America in 1952, but he was eventually found by authorities and sent to Mexico to await extradition to the United States. The process dragged on for five years and he eventually found himself in the “Black Palace of Lecumberri,” a prison in Mexico City. In 1961, he was finally extradited to the United States and served time at Sing Sing prison. Upon his release, he returned to Mexico, the country for which he had developed a good deal of affection and whose people he admired for their warmth and loyalty. Flato wrote in his memoir that “a loyal friend is more precious than any of my jewels.” Flato possessed an optimism that persisted throughout the many peaks and valleys of his career, and in 1970 he opened a new salon in Mexico City’s fashionable Zona Rosa.  Like his previous ateliers, the salon’s enticing window displays lured clients into a beautifully appointed, character-filled space. The jewels produced during this period were a significant departure from his high-glamour style of the 1930s and ‘40s, but his trademark eccentricity remained. He was a frequent visitor to the Anthropological Museum where he drew inspiration from Mayan and Aztec artifacts; he developed a pared-down, sometimes raw or “primitive” aesthetic. Some of the jewels continued his earlier exploration of surrealism, such as a necklace made of brass bells and a bracelet with longhorn bull terminals. Diamonds were used sparingly, and he played with different textures to emphasize the hand-wrought nature of his jewels, sometimes incorporating gemstones in their rough, unpolished form. Flato maintained he wasn’t a draughtsman, but with no in-house designer in Mexico City, he was the one who created sketches for his clients’ consideration. One of the keys to Flato’s early success, however, was his ability to recognize talent, especially in those with fine pedigrees. He engaged a crop of highly imaginative designers that ensured his creations remained fresh, inventive and thoroughly enticing. His chief designer, Adolphe Klety, excelled at creating more formal, diamond-set jewels, such as his starburst earclips and entwined rose leaf bracelets (Iots 175 and 176).  Fulco di Verdura who, after beginning his career with Coco Chanel, was introduced to Flato by Diana Vreeland. Verdura, like Flato, was embraced by New York society but held additional appeal as the 5th Duke of Verdura. George Headley, who married into the Whitney-Vanderbilt family, was pivotal to Flato’s appeal with the Hollywood set. Serving as designer, muse and client, Standard Oil heiress Millicent Rogers conceived the “puffy hearts” that Flato fashioned into brooches and earclips. Similarly, Josephine Forrestal, wife of James V. Forrestal (Secretary of the Navy under FDR) and a former fashion editor at Vogue, was not a full-time designer but a contributor of ideas and designs. His eye for exceptional talent is further evidenced by his correspondence with Suzanne Belperron during WWII, entreating her to come to New York to lend her genius to his already inspired designs. The jewels offered as lots 171-177 highlight Paul Flato’s independence from the European houses that so greatly influenced American design, particularly in the early to-mid 20th century. The extraordinary range of his work—from the whimsical to the sensational—suggests that Flato’s desire to delight his audience may have outweighed any concern for financial stability. We are privileged to present one of the most significant groupings of Paul Flato jewels ever to appear at market and to herald his contributions to American jewelry design to the current generation of collectors.

Paul Flato

Estimation : 30000 - 50000 €

Maison de vente : Sotheby’s

Date de la vente : 09/12/2025

Paul Flato Designed as an articulated and curled feather of polished gold, the rachis set with round and single-cut diamonds, signed Flato; Circa 1940. Sotheby’s New York, April 4, 2011, lot 260. Paul Flato Paul Flato was one of the biggest names in American jewelry in the mid-20th century; yet, until fairly recently, appreciation for his work’s distinctive style and exuberance was maintained by a small circle of knowledgeable collectors. Born and raised in southeast Texas to a prosperous family of German immigrants, Flato developed an interest in jewelry from a young age. Elizabeth Irvine Bray, whose 2010 book Paul Flato: Jeweler to the Stars has helped return his work to the spotlight, writes that “his earliest encounter with jewelry both terrified and thrilled him.” While hiking in some nearby woods, he and his friends came upon a Gypsy encampment. There, Flato watched with rapt attention as a man fashioned a necklace out of silver wire, an act of creation that was forever burned into his memory. He moved to New York in 1920 to pursue a business degree at Columbia University but left early to apprentice with a Fifth Avenue jeweler.  Soon he was selling his own jewelry, specializing in diamonds and natural pearls. His rise in reputation was nothing short of meteoric and he gained the respect of prominent players including Harry Winston, himself an up-and-coming jeweler, who later worked with Flato on a necklace for the legendary Jonker I diamond. (The Jonker VI is offered as lot 160 in this sale.) A gregarious and charming young man with a great sense of humor, Flato was a natural salesman. He opened an elegant salon at the corner of Fifth Avenue and 57th Street, the location itself a sign of his growing success. He mixed amongst high society, hosting and attending events, collecting clients along the way. While much of his business was word-of-mouth, he provided jewels to Vogue and Harper’s Bazaar, making his name synonymous with high glamour.  He developed a fiercely loyal clientele which allowed his business to remain remarkably unaffected by the stock market crash of 1929. In fact, it was against the backdrop of the Great Depression that he created some of his most spectacular designs. Flato’s dramatic designs found a particularly appreciative audience among the Who’s Who of Hollywood and, in 1938, he opened a salon on LA’s Sunset Boulevard. His timing was perfect. It was the Golden Age of Hollywood, and the studios expected their stars to radiate glamour both on-screen and off.  Flato’s lavish statement jewels were easily picked up by the cameras, serving to enhance the escapist fantasies of moviegoers and readers of the Hollywood press. His contributions to the movie industry were so significant that he was credited for jewelry design in no less than six films including Holiday starring Katharine Hepburn, Blood and Sand with Rita Hayworth and Two-Faced Woman with Greta Garbo. Unfortunately, this celebrity status came at a price. In 1941, his Sunset Boulevard store was robbed by four armed men who made off with nearly $50,000 in jewels. The financial toll would have been far worse had he not just lent his most valuable pieces to Columbia Studios for The Lady is Willing. Flato did his best to put a light-hearted spin on the theft, commissioning a drawing of a gunman with the caption “Everybody Wants Jewels by Flato” for an ad in the Hollywood Reporter. Though everyone did seem to be clamoring for jewels by Flato, he, like many jewelers and fashion designers today, received many requests to borrow—not buy—his jewels, and when his clients did make a purchase, they were often late to pay.  He received a decisive blow, both personally and professionally, when a 17-carat emerald-cut diamond that had been entrusted to him by Fabrikant Jewelers vanished from his safe.  Suspecting Flato may have played a part in its disappearance, other members of the trade asked for their jewels left on memo to be returned immediately. The race to reclaim these goods revealed that he had pawned many of the jewels to cover operating costs. He was arrested and charged with theft and was later forced to sell the company’s assets. The depth of his misfortune could have possibly been softened had he not been so generous in extending credit to his well-to-do clients: Nelson Rockefeller, Mrs. Alfred G. Vanderbilt, Mrs. Frank Gould, Lady Isabel Guinness and Brenda Frazier all appeared with outstanding amounts in his ledgers. To escape his legal woes, he went to Central America in 1952, but he was eventually found by authorities and sent to Mexico to await extradition to the United States. The process dragged on for five years and he eventually found himself in the “Black Palace of Lecumberri,” a prison in Mexico City. In 1961, he was finally extradited to the United States and served time at Sing Sing prison. Upon his release, he returned to Mexico, the country for which he had developed a good deal of affection and whose people he admired for their warmth and loyalty. Flato wrote in his memoir that “a loyal friend is more precious than any of my jewels.” Flato possessed an optimism that persisted throughout the many peaks and valleys of his career, and in 1970 he opened a new salon in Mexico City’s fashionable Zona Rosa.  Like his previous ateliers, the salon’s enticing window displays lured clients into a beautifully appointed, character-filled space. The jewels produced during this period were a significant departure from his high-glamour style of the 1930s and ‘40s, but his trademark eccentricity remained. He was a frequent visitor to the Anthropological Museum where he drew inspiration from Mayan and Aztec artifacts; he developed a pared-down, sometimes raw or “primitive” aesthetic. Some of the jewels continued his earlier exploration of surrealism, such as a necklace made of brass bells and a bracelet with longhorn bull terminals. Diamonds were used sparingly, and he played with different textures to emphasize the hand-wrought nature of his jewels, sometimes incorporating gemstones in their rough, unpolished form. Flato maintained he wasn’t a draughtsman, but with no in-house designer in Mexico City, he was the one who created sketches for his clients’ consideration. One of the keys to Flato’s early success, however, was his ability to recognize talent, especially in those with fine pedigrees. He engaged a crop of highly imaginative designers that ensured his creations remained fresh, inventive and thoroughly enticing. His chief designer, Adolphe Klety, excelled at creating more formal, diamond-set jewels, such as his starburst earclips and entwined rose leaf bracelets (Iots 175 and 176).  Fulco di Verdura who, after beginning his career with Coco Chanel, was introduced to Flato by Diana Vreeland. Verdura, like Flato, was embraced by New York society but held additional appeal as the 5th Duke of Verdura. George Headley, who married into the Whitney-Vanderbilt family, was pivotal to Flato’s appeal with the Hollywood set. Serving as designer, muse and client, Standard Oil heiress Millicent Rogers conceived the “puffy hearts” that Flato fashioned into brooches and earclips. Similarly, Josephine Forrestal, wife of James V. Forrestal (Secretary of the Navy under FDR) and a former fashion editor at Vogue, was not a full-time designer but a contributor of ideas and designs. His eye for exceptional talent is further evidenced by his correspondence with Suzanne Belperron during WWII, entreating her to come to New York to lend her genius to his already inspired designs. The jewels offered as lots 171-177 highlight Paul Flato’s independence from the European houses that so greatly influenced American design, particularly in the early to-mid 20th century. The extraordinary range of his work—from the whimsical to the sensational—suggests that Flato’s desire to delight his audience may have outweighed any concern for financial stability. We are privileged to present one of the most significant groupings of Paul Flato jewels ever to appear at market and to herald his contributions to American jewelry design to the current generation of collectors.

Paul Flato

Estimation : 30000 - 50000 €

Maison de vente : Sotheby’s

Date de la vente : 09/12/2025

Paul Flato Of lattice design, suspending articulated French-cut diamond, signed Flato; circa 1940. Paul Flato Paul Flato was one of the biggest names in American jewelry in the mid-20th century; yet, until fairly recently, appreciation for his work’s distinctive style and exuberance was maintained by a small circle of knowledgeable collectors. Born and raised in southeast Texas to a prosperous family of German immigrants, Flato developed an interest in jewelry from a young age. Elizabeth Irvine Bray, whose 2010 book Paul Flato: Jeweler to the Stars has helped return his work to the spotlight, writes that “his earliest encounter with jewelry both terrified and thrilled him.” While hiking in some nearby woods, he and his friends came upon a Gypsy encampment. There, Flato watched with rapt attention as a man fashioned a necklace out of silver wire, an act of creation that was forever burned into his memory. He moved to New York in 1920 to pursue a business degree at Columbia University but left early to apprentice with a Fifth Avenue jeweler.  Soon he was selling his own jewelry, specializing in diamonds and natural pearls. His rise in reputation was nothing short of meteoric and he gained the respect of prominent players including Harry Winston, himself an up-and-coming jeweler, who later worked with Flato on a necklace for the legendary Jonker I diamond. (The Jonker VI is offered as lot 160 in this sale.) A gregarious and charming young man with a great sense of humor, Flato was a natural salesman. He opened an elegant salon at the corner of Fifth Avenue and 57th Street, the location itself a sign of his growing success. He mixed amongst high society, hosting and attending events, collecting clients along the way. While much of his business was word-of-mouth, he provided jewels to Vogue and Harper’s Bazaar, making his name synonymous with high glamour.  He developed a fiercely loyal clientele which allowed his business to remain remarkably unaffected by the stock market crash of 1929. In fact, it was against the backdrop of the Great Depression that he created some of his most spectacular designs. Flato’s dramatic designs found a particularly appreciative audience among the Who’s Who of Hollywood and, in 1938, he opened a salon on LA’s Sunset Boulevard. His timing was perfect. It was the Golden Age of Hollywood, and the studios expected their stars to radiate glamour both on-screen and off.  Flato’s lavish statement jewels were easily picked up by the cameras, serving to enhance the escapist fantasies of moviegoers and readers of the Hollywood press. His contributions to the movie industry were so significant that he was credited for jewelry design in no less than six films including Holiday starring Katharine Hepburn, Blood and Sand with Rita Hayworth and Two-Faced Woman with Greta Garbo. Unfortunately, this celebrity status came at a price. In 1941, his Sunset Boulevard store was robbed by four armed men who made off with nearly $50,000 in jewels. The financial toll would have been far worse had he not just lent his most valuable pieces to Columbia Studios for The Lady is Willing. Flato did his best to put a light-hearted spin on the theft, commissioning a drawing of a gunman with the caption “Everybody Wants Jewels by Flato” for an ad in the Hollywood Reporter. Though everyone did seem to be clamoring for jewels by Flato, he, like many jewelers and fashion designers today, received many requests to borrow—not buy—his jewels, and when his clients did make a purchase, they were often late to pay.  He received a decisive blow, both personally and professionally, when a 17-carat emerald-cut diamond that had been entrusted to him by Fabrikant Jewelers vanished from his safe.  Suspecting Flato may have played a part in its disappearance, other members of the trade asked for their jewels left on memo to be returned immediately. The race to reclaim these goods revealed that he had pawned many of the jewels to cover operating costs. He was arrested and charged with theft and was later forced to sell the company’s assets. The depth of his misfortune could have possibly been softened had he not been so generous in extending credit to his well-to-do clients: Nelson Rockefeller, Mrs. Alfred G. Vanderbilt, Mrs. Frank Gould, Lady Isabel Guinness and Brenda Frazier all appeared with outstanding amounts in his ledgers. To escape his legal woes, he went to Central America in 1952, but he was eventually found by authorities and sent to Mexico to await extradition to the United States. The process dragged on for five years and he eventually found himself in the “Black Palace of Lecumberri,” a prison in Mexico City. In 1961, he was finally extradited to the United States and served time at Sing Sing prison. Upon his release, he returned to Mexico, the country for which he had developed a good deal of affection and whose people he admired for their warmth and loyalty. Flato wrote in his memoir that “a loyal friend is more precious than any of my jewels.” Flato possessed an optimism that persisted throughout the many peaks and valleys of his career, and in 1970 he opened a new salon in Mexico City’s fashionable Zona Rosa.  Like his previous ateliers, the salon’s enticing window displays lured clients into a beautifully appointed, character-filled space. The jewels produced during this period were a significant departure from his high-glamour style of the 1930s and ‘40s, but his trademark eccentricity remained. He was a frequent visitor to the Anthropological Museum where he drew inspiration from Mayan and Aztec artifacts; he developed a pared-down, sometimes raw or “primitive” aesthetic. Some of the jewels continued his earlier exploration of surrealism, such as a necklace made of brass bells and a bracelet with longhorn bull terminals. Diamonds were used sparingly, and he played with different textures to emphasize the hand-wrought nature of his jewels, sometimes incorporating gemstones in their rough, unpolished form. Flato maintained he wasn’t a draughtsman, but with no in-house designer in Mexico City, he was the one who created sketches for his clients’ consideration. One of the keys to Flato’s early success, however, was his ability to recognize talent, especially in those with fine pedigrees. He engaged a crop of highly imaginative designers that ensured his creations remained fresh, inventive and thoroughly enticing. His chief designer, Adolphe Klety, excelled at creating more formal, diamond-set jewels, such as his starburst earclips and entwined rose leaf bracelets (Iots 175 and 176).  Fulco di Verdura who, after beginning his career with Coco Chanel, was introduced to Flato by Diana Vreeland. Verdura, like Flato, was embraced by New York society but held additional appeal as the 5th Duke of Verdura. George Headley, who married into the Whitney-Vanderbilt family, was pivotal to Flato’s appeal with the Hollywood set. Serving as designer, muse and client, Standard Oil heiress Millicent Rogers conceived the “puffy hearts” that Flato fashioned into brooches and earclips. Similarly, Josephine Forrestal, wife of James V. Forrestal (Secretary of the Navy under FDR) and a former fashion editor at Vogue, was not a full-time designer but a contributor of ideas and designs. His eye for exceptional talent is further evidenced by his correspondence with Suzanne Belperron during WWII, entreating her to come to New York to lend her genius to his already inspired designs. The jewels offered as lots 171-177 highlight Paul Flato’s independence from the European houses that so greatly influenced American design, particularly in the early to-mid 20th century. The extraordinary range of his work—from the whimsical to the sensational—suggests that Flato’s desire to delight his audience may have outweighed any concern for financial stability. We are privileged to present one of the most significant groupings of Paul Flato jewels ever to appear at market and to herald his contributions to American jewelry design to the current generation of collectors.

Paul Flato

Estimation : 35000 - 55000 €

Maison de vente : Sotheby’s

Date de la vente : 09/12/2025

Paul Flato Composed of ribbon-motif links set with old European-cut diamonds, length approximately 7½ inches, signed Flato; circa 1935. Paul Flato Paul Flato was one of the biggest names in American jewelry in the mid-20th century; yet, until fairly recently, appreciation for his work’s distinctive style and exuberance was maintained by a small circle of knowledgeable collectors. Born and raised in southeast Texas to a prosperous family of German immigrants, Flato developed an interest in jewelry from a young age. Elizabeth Irvine Bray, whose 2010 book Paul Flato: Jeweler to the Stars has helped return his work to the spotlight, writes that “his earliest encounter with jewelry both terrified and thrilled him.” While hiking in some nearby woods, he and his friends came upon a Gypsy encampment. There, Flato watched with rapt attention as a man fashioned a necklace out of silver wire, an act of creation that was forever burned into his memory. He moved to New York in 1920 to pursue a business degree at Columbia University but left early to apprentice with a Fifth Avenue jeweler.  Soon he was selling his own jewelry, specializing in diamonds and natural pearls. His rise in reputation was nothing short of meteoric and he gained the respect of prominent players including Harry Winston, himself an up-and-coming jeweler, who later worked with Flato on a necklace for the legendary Jonker I diamond. (The Jonker VI is offered as lot 160 in this sale.) A gregarious and charming young man with a great sense of humor, Flato was a natural salesman. He opened an elegant salon at the corner of Fifth Avenue and 57th Street, the location itself a sign of his growing success. He mixed amongst high society, hosting and attending events, collecting clients along the way. While much of his business was word-of-mouth, he provided jewels to Vogue and Harper’s Bazaar, making his name synonymous with high glamour.  He developed a fiercely loyal clientele which allowed his business to remain remarkably unaffected by the stock market crash of 1929. In fact, it was against the backdrop of the Great Depression that he created some of his most spectacular designs. Flato’s dramatic designs found a particularly appreciative audience among the Who’s Who of Hollywood and, in 1938, he opened a salon on LA’s Sunset Boulevard. His timing was perfect. It was the Golden Age of Hollywood, and the studios expected their stars to radiate glamour both on-screen and off.  Flato’s lavish statement jewels were easily picked up by the cameras, serving to enhance the escapist fantasies of moviegoers and readers of the Hollywood press. His contributions to the movie industry were so significant that he was credited for jewelry design in no less than six films including Holiday starring Katharine Hepburn, Blood and Sand with Rita Hayworth and Two-Faced Woman with Greta Garbo. Unfortunately, this celebrity status came at a price. In 1941, his Sunset Boulevard store was robbed by four armed men who made off with nearly $50,000 in jewels. The financial toll would have been far worse had he not just lent his most valuable pieces to Columbia Studios for The Lady is Willing. Flato did his best to put a light-hearted spin on the theft, commissioning a drawing of a gunman with the caption “Everybody Wants Jewels by Flato” for an ad in the Hollywood Reporter. Though everyone did seem to be clamoring for jewels by Flato, he, like many jewelers and fashion designers today, received many requests to borrow—not buy—his jewels, and when his clients did make a purchase, they were often late to pay.  He received a decisive blow, both personally and professionally, when a 17-carat emerald-cut diamond that had been entrusted to him by Fabrikant Jewelers vanished from his safe.  Suspecting Flato may have played a part in its disappearance, other members of the trade asked for their jewels left on memo to be returned immediately. The race to reclaim these goods revealed that he had pawned many of the jewels to cover operating costs. He was arrested and charged with theft and was later forced to sell the company’s assets. The depth of his misfortune could have possibly been softened had he not been so generous in extending credit to his well-to-do clients: Nelson Rockefeller, Mrs. Alfred G. Vanderbilt, Mrs. Frank Gould, Lady Isabel Guinness and Brenda Frazier all appeared with outstanding amounts in his ledgers. To escape his legal woes, he went to Central America in 1952, but he was eventually found by authorities and sent to Mexico to await extradition to the United States. The process dragged on for five years and he eventually found himself in the “Black Palace of Lecumberri,” a prison in Mexico City. In 1961, he was finally extradited to the United States and served time at Sing Sing prison. Upon his release, he returned to Mexico, the country for which he had developed a good deal of affection and whose people he admired for their warmth and loyalty. Flato wrote in his memoir that “a loyal friend is more precious than any of my jewels.” Flato possessed an optimism that persisted throughout the many peaks and valleys of his career, and in 1970 he opened a new salon in Mexico City’s fashionable Zona Rosa.  Like his previous ateliers, the salon’s enticing window displays lured clients into a beautifully appointed, character-filled space. The jewels produced during this period were a significant departure from his high-glamour style of the 1930s and ‘40s, but his trademark eccentricity remained. He was a frequent visitor to the Anthropological Museum where he drew inspiration from Mayan and Aztec artifacts; he developed a pared-down, sometimes raw or “primitive” aesthetic. Some of the jewels continued his earlier exploration of surrealism, such as a necklace made of brass bells and a bracelet with longhorn bull terminals. Diamonds were used sparingly, and he played with different textures to emphasize the hand-wrought nature of his jewels, sometimes incorporating gemstones in their rough, unpolished form. Flato maintained he wasn’t a draughtsman, but with no in-house designer in Mexico City, he was the one who created sketches for his clients’ consideration. One of the keys to Flato’s early success, however, was his ability to recognize talent, especially in those with fine pedigrees. He engaged a crop of highly imaginative designers that ensured his creations remained fresh, inventive and thoroughly enticing. His chief designer, Adolphe Klety, excelled at creating more formal, diamond-set jewels, such as his starburst earclips and entwined rose leaf bracelets (Iots 175 and 176).  Fulco di Verdura who, after beginning his career with Coco Chanel, was introduced to Flato by Diana Vreeland. Verdura, like Flato, was embraced by New York society but held additional appeal as the 5th Duke of Verdura. George Headley, who married into the Whitney-Vanderbilt family, was pivotal to Flato’s appeal with the Hollywood set. Serving as designer, muse and client, Standard Oil heiress Millicent Rogers conceived the “puffy hearts” that Flato fashioned into brooches and earclips. Similarly, Josephine Forrestal, wife of James V. Forrestal (Secretary of the Navy under FDR) and a former fashion editor at Vogue, was not a full-time designer but a contributor of ideas and designs. His eye for exceptional talent is further evidenced by his correspondence with Suzanne Belperron during WWII, entreating her to come to New York to lend her genius to his already inspired designs. The jewels offered as lots 171-177 highlight Paul Flato’s independence from the European houses that so greatly influenced American design, particularly in the early to-mid 20th century. The extraordinary range of his work—from the whimsical to the sensational—suggests that Flato’s desire to delight his audience may have outweighed any concern for financial stability. We are privileged to present one of the most significant groupings of Paul Flato jewels ever to appear at market and to herald his contributions to American jewelry design to the current generation of collectors.

Paul Flato

Estimation : 50000 - 70000 €

Maison de vente : Sotheby’s

Date de la vente : 09/12/2025

Paul Flato Of starburst design, set with round and baguette diamonds, each accented by an emerald-cut diamond, unsigned; circa 1935. Elizabeth Irvine Bray, Paul Flato Jeweler To The Stars, Woodbridge, Suffolk, 2010 p. 24-25 for an illustration of these earclips. Paul Flato Paul Flato was one of the biggest names in American jewelry in the mid-20th century; yet, until fairly recently, appreciation for his work’s distinctive style and exuberance was maintained by a small circle of knowledgeable collectors. Born and raised in southeast Texas to a prosperous family of German immigrants, Flato developed an interest in jewelry from a young age. Elizabeth Irvine Bray, whose 2010 book Paul Flato: Jeweler to the Stars has helped return his work to the spotlight, writes that “his earliest encounter with jewelry both terrified and thrilled him.” While hiking in some nearby woods, he and his friends came upon a Gypsy encampment. There, Flato watched with rapt attention as a man fashioned a necklace out of silver wire, an act of creation that was forever burned into his memory. He moved to New York in 1920 to pursue a business degree at Columbia University but left early to apprentice with a Fifth Avenue jeweler.  Soon he was selling his own jewelry, specializing in diamonds and natural pearls. His rise in reputation was nothing short of meteoric and he gained the respect of prominent players including Harry Winston, himself an up-and-coming jeweler, who later worked with Flato on a necklace for the legendary Jonker I diamond. (The Jonker VI is offered as lot 160 in this sale.) A gregarious and charming young man with a great sense of humor, Flato was a natural salesman. He opened an elegant salon at the corner of Fifth Avenue and 57th Street, the location itself a sign of his growing success. He mixed amongst high society, hosting and attending events, collecting clients along the way. While much of his business was word-of-mouth, he provided jewels to Vogue and Harper’s Bazaar, making his name synonymous with high glamour.  He developed a fiercely loyal clientele which allowed his business to remain remarkably unaffected by the stock market crash of 1929. In fact, it was against the backdrop of the Great Depression that he created some of his most spectacular designs. Flato’s dramatic designs found a particularly appreciative audience among the Who’s Who of Hollywood and, in 1938, he opened a salon on LA’s Sunset Boulevard. His timing was perfect. It was the Golden Age of Hollywood, and the studios expected their stars to radiate glamour both on-screen and off.  Flato’s lavish statement jewels were easily picked up by the cameras, serving to enhance the escapist fantasies of moviegoers and readers of the Hollywood press. His contributions to the movie industry were so significant that he was credited for jewelry design in no less than six films including Holiday starring Katharine Hepburn, Blood and Sand with Rita Hayworth and Two-Faced Woman with Greta Garbo. Unfortunately, this celebrity status came at a price. In 1941, his Sunset Boulevard store was robbed by four armed men who made off with nearly $50,000 in jewels. The financial toll would have been far worse had he not just lent his most valuable pieces to Columbia Studios for The Lady is Willing. Flato did his best to put a light-hearted spin on the theft, commissioning a drawing of a gunman with the caption “Everybody Wants Jewels by Flato” for an ad in the Hollywood Reporter. Though everyone did seem to be clamoring for jewels by Flato, he, like many jewelers and fashion designers today, received many requests to borrow—not buy—his jewels, and when his clients did make a purchase, they were often late to pay.  He received a decisive blow, both personally and professionally, when a 17-carat emerald-cut diamond that had been entrusted to him by Fabrikant Jewelers vanished from his safe.  Suspecting Flato may have played a part in its disappearance, other members of the trade asked for their jewels left on memo to be returned immediately. The race to reclaim these goods revealed that he had pawned many of the jewels to cover operating costs. He was arrested and charged with theft and was later forced to sell the company’s assets. The depth of his misfortune could have possibly been softened had he not been so generous in extending credit to his well-to-do clients: Nelson Rockefeller, Mrs. Alfred G. Vanderbilt, Mrs. Frank Gould, Lady Isabel Guinness and Brenda Frazier all appeared with outstanding amounts in his ledgers. To escape his legal woes, he went to Central America in 1952, but he was eventually found by authorities and sent to Mexico to await extradition to the United States. The process dragged on for five years and he eventually found himself in the “Black Palace of Lecumberri,” a prison in Mexico City. In 1961, he was finally extradited to the United States and served time at Sing Sing prison. Upon his release, he returned to Mexico, the country for which he had developed a good deal of affection and whose people he admired for their warmth and loyalty. Flato wrote in his memoir that “a loyal friend is more precious than any of my jewels.” Flato possessed an optimism that persisted throughout the many peaks and valleys of his career, and in 1970 he opened a new salon in Mexico City’s fashionable Zona Rosa.  Like his previous ateliers, the salon’s enticing window displays lured clients into a beautifully appointed, character-filled space. The jewels produced during this period were a significant departure from his high-glamour style of the 1930s and ‘40s, but his trademark eccentricity remained. He was a frequent visitor to the Anthropological Museum where he drew inspiration from Mayan and Aztec artifacts; he developed a pared-down, sometimes raw or “primitive” aesthetic. Some of the jewels continued his earlier exploration of surrealism, such as a necklace made of brass bells and a bracelet with longhorn bull terminals. Diamonds were used sparingly, and he played with different textures to emphasize the hand-wrought nature of his jewels, sometimes incorporating gemstones in their rough, unpolished form. Flato maintained he wasn’t a draughtsman, but with no in-house designer in Mexico City, he was the one who created sketches for his clients’ consideration. One of the keys to Flato’s early success, however, was his ability to recognize talent, especially in those with fine pedigrees. He engaged a crop of highly imaginative designers that ensured his creations remained fresh, inventive and thoroughly enticing. His chief designer, Adolphe Klety, excelled at creating more formal, diamond-set jewels, such as his starburst earclips and entwined rose leaf bracelets (Iots 175 and 176).  Fulco di Verdura who, after beginning his career with Coco Chanel, was introduced to Flato by Diana Vreeland. Verdura, like Flato, was embraced by New York society but held additional appeal as the 5th Duke of Verdura. George Headley, who married into the Whitney-Vanderbilt family, was pivotal to Flato’s appeal with the Hollywood set. Serving as designer, muse and client, Standard Oil heiress Millicent Rogers conceived the “puffy hearts” that Flato fashioned into brooches and earclips. Similarly, Josephine Forrestal, wife of James V. Forrestal (Secretary of the Navy under FDR) and a former fashion editor at Vogue, was not a full-time designer but a contributor of ideas and designs. His eye for exceptional talent is further evidenced by his correspondence with Suzanne Belperron during WWII, entreating her to come to New York to lend her genius to his already inspired designs. The jewels offered as lots 171-177 highlight Paul Flato’s independence from the European houses that so greatly influenced American design, particularly in the early to-mid 20th century. The extraordinary range of his work—from the whimsical to the sensational—suggests that Flato’s desire to delight his audience may have outweighed any concern for financial stability. We are privileged to present one of the most significant groupings of Paul Flato jewels ever to appear at market and to herald his contributions to American jewelry design to the current generation of collectors.

Paul Flato

Estimation : 40000 - 60000 €

Maison de vente : Sotheby’s

Date de la vente : 09/12/2025

Van Cleef & Arpels Of scroll design, set with oval and cushion-cut rubies, embellished with baguette and pavé-set old European-cut diamonds, unsigned, with French assay marks; circa 1937. Accompanied by AGL report 1150704 dated September 2, 2025 stating that over 50% of the rubies tested at random are of Burmese origin, with no indications of heating. This ruby and diamond clip-brooch is featured in an advertisement, published in  Vogue Paris in 1937, where it is displayed amongst ruby and diamond mystery-set jewels by Van Cleef & Arpels. Though unsigned, the brooch is indicative of Van Cleef & Arpels’ stylistic evolution during the mid-to-late 1930s. At the time, jewelry design was moving away from the geometric art deco style to a bold and sculptural aesthetic that would stay in vogue until the mid-1950s. The brooch’s large scale, rounded contours and generous use of cushion-shaped rubies, bring to mind Van Cleef & Arpels’ most emblematic creation of 1937: the ’Wedding Contract’ bracelet commissioned by the Duke of Windsor. To commemorate the signing of their wedding contract, the former King Edward VIII gave his bride-to-be Mrs Simpson a sumptuous bracelet of jarretière design composed of a buckle set with cushion-shaped sapphires on an articulated strap of round diamonds, accented by baguette diamonds. Though signing a wedding contract may seem purely pragmatic to most couples, for them it was a significant milestone in their complicated relationship that warranted a jewel reflecting its importance. The bracelet was touchingly inscribed ‘For our contract 18-V-37’. A few weeks later, on June 3, 1937, the Duchess of Windsor wore this bracelet together with her iconic ‘Wallis blue’ Mainbocher wedding dress during her nuptials held at the Château de Candé. That day she also wore a sapphire and diamond brooch of scroll design, also by Van Cleef & Arpels. The sapphire and diamond bracelet was designed by René-Sim Lacaze, Van Cleef & Arpels’ lead designer, who more than anyone else was responsible for the company’s stylistic evolution during the mid-to-late 1930s.

Van Cleef & Arpels

Estimation : 60000 - 80000 €

Maison de vente : Sotheby’s

Date de la vente : 08/12/2025

VOGUE BIJOUX, Spilla VOGUE BIJOUX, Spilla

VOGUE BIJOUX, Spilla

Estimation : 140 - 180 €

Maison de vente : Trionfante

Date de la vente : 29/11/2025

SPHINX E VOGUE BIJOUX, Due spille SPHINX E VOGUE BIJOUX, Due spille

SPHINX E VOGUE BIJOUX, Due spille

Estimation : 100 - 120 €

Maison de vente : Trionfante

Date de la vente : 29/11/2025

VOGUE BIJOUX, Orecchini VOGUE BIJOUX, Orecchini

VOGUE BIJOUX, Orecchini

Estimation : 220 - 280 €

Maison de vente : Trionfante

Date de la vente : 29/11/2025

VOGUE BIJOUX (Attr.le), Grande spilla VOGUE BIJOUX (Attr.le), Grande spilla

VOGUE BIJOUX (Attr.le), Grande spilla

Estimation : 180 - 220 €

Maison de vente : Trionfante

Date de la vente : 29/11/2025

VOGUE BIJOUX, Collana girocollo VOGUE BIJOUX, Collana girocollo

VOGUE BIJOUX, Collana girocollo

Estimation : 150 - 180 €

Maison de vente : Trionfante

Date de la vente : 29/11/2025

VOGUE BIJOUX, Grande spilla VOGUE BIJOUX, Grande spilla

VOGUE BIJOUX, Grande spilla

Estimation : 300 - 350 €

Maison de vente : Trionfante

Date de la vente : 29/11/2025

VOGUE BIJOUX, Collana con maglie VOGUE BIJOUX, Collana con maglie

VOGUE BIJOUX, Collana con maglie

Estimation : 500 - 600 €

Maison de vente : Trionfante

Date de la vente : 29/11/2025

VOGUE BIJOUX, Bracciale “Panthere” rigido VOGUE BIJOUX, Bracciale “Panthere” rigido

VOGUE BIJOUX, Bracciale “Panthere” rigido

Estimation : 450 - 550 €

Maison de vente : Trionfante

Date de la vente : 29/11/2025

VOGUE BIJOUX, Orecchini “Panthere” VOGUE BIJOUX, Orecchini “Panthere”

VOGUE BIJOUX, Orecchini “Panthere”

Estimation : 350 - 400 €

Maison de vente : Trionfante

Date de la vente : 29/11/2025

Description VOGUE BIJOUX. Choker necklace.. Necklace composed of 10 differently worked threads.. Artist or Maker VOGUE BIJOUX

Description VOGUE BIJOUX. Choker necklace.. Necklace composed of 10 differently worked threads..

Estimation : 180 - 200 €

Maison de vente : Capitolium Art

Date de la vente : 27/11/2025