Platinum, Gold, Rock Crystal, Cultured Pearl and Diamond Bracelet, Designed by Suzanne Belperron, Paris

Composed of arched rectangular links centering rock crystal plateaus, decorated with black and white cultured pearls measuring approximately 7.5 to 4.0 mm, further accented by single-cut diamonds, length 6 7/8 inches, with French assay and maker's marks; 1935-1940.

Musée des Arts Décoratifs, Paris: Bijoux Art Déco et Avant-Garde, Jean Després et ls Bijoutiers Modernes, March 19, 2009-July 12, 2009.

Art Deco Jewelry: Modernist Masterworks and Their Makers, edited by Laurence Mouillefarine and Évelyne Possémé, page 229, figure 1.

In very good condition. The white pearls exhibit a silvery white bodycolor with moderate rose and green overtones and good luster. The smaller black pearls exhibit strong green and aubergine overtones and very good luster and the larger black pearls exhibit strong aubergine overtones and good luster. Under magnification some pearls exhibit minor to moderate peeling. The diamonds are a combination of single-cuts and rose-cuts and they are near colorless and decorative in quality. The French assay mark and the workshop mark is on the male end of the clasp. The rock crystal segments are eye-clean. Accompanied by a photocopy of Belperron Certificate of Authenticity signed by Edward J Landrigan of Verdura. Accompanied by a photocopy of a Certificate of Authenticity from Françoise Cailles.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Accompanied by a photocopy of a Belperron Certificate of Authenticity dated March 10, 2008.

Accompanied by a photocopy of a Certificate of Authenticity from Françoise Cailles.

Suzanne Belperron was one of the most prominent female jewelry designers of the early 20th century. Trained under René Boivin, she eventually became the co-director of Maison Boivin, developing her talent via incredibly detailed gouache sketches which scholars now use as a window into her creative mind. In 1932, she accepted the offer to work with the Parisian dealer Bernard Herz, who specialized in pearls and precious stones, where she continued to refine her distinct style and designs. In 1933, while still retaining her partnership with Herz, Belperron opened her own store at 59 rue de Chateaudun where clients flocked, exclusively coming to her through referrals. Owning a Belperron was a sign of status and pieces were often commissioned by fashion and social icons such as Elsa Schiaparelli, Diana Vreeland, and the Duchess of Windsor.

Belperron's innovative and non-traditional use of seemingly opposite materials enabled her to create truly exceptional pieces of wearable art. The mixing of hardstones such as rock crystal and chalcedony with more traditional materials such as diamonds, sapphires and pearls, are now trademarks of the Belperron aesthetic. The present lot features a wonderful dialogue between the hard clean edges of the crystal, the soft curves of the multi-colored cultured pearls and the bright shine of the diamonds. 

As an avid traveler, Belperron found aesthetic influences in all forms of nature; she documented her observations meticulously in personal sketchbooks which influenced her designs until her death in 1970. One might say that the bracelet offered here was influenced by Belperron’s visit to Egypt, specifically the Pyramids at Giza, on the occasion of her engagement in the autumn of 1923. The rock crystal plaques are semi-pyramidal with plateaus that allow the pearls to be gently perched. An interpretation of the ‘White Jewelry’ popularized in the 1930s, it is fitting that unlike most diamond-heavy pieces created during this time, Belperron looked to unconventional materials in striking combinations to create a design that remains eternally chic and modern.