White Gold, Chalcedony, Sapphire, Amethyst and Diamond 'Flowerhead' Brooch, Designed by Suzanne Belperron, 1932-1955

Centered by a cabochon sapphire framed by amethyst surrounds, with six articulated chalcedony petals spaced by six cabochon amethysts set on articulated gold sprays, each accented by old mine-cut diamonds weighing approximately 1.45 carats, with partially rubbed workshop marks for Gröne et Darde and French assay marks.

In good condition and slightly fragile. The sapphire is a medium, slightly violetish blue, lightly included with some color zoning evident under direct illumination. It is set in a light, violetish purple amethyst that is lightly included. The chalcedony petals are fully articulated, allowing for a high range of motion, and are a light, slightly violetish blue, with some small chips evident on the reverse. One of the petals is slightly loose and shows evidence of repair.The diamonds are approximately H-I color, VS-SI clarity. The accenting cabochon amethysts have a slightly deeper tone than the center amethyst. Maker's mark located under the pin stem. Fitted with a screw clasp. Accompanied by Certificate of Authenticity No. B39610152012 from Belperron, LLC. stating that the brooch was manufactured in Paris between 1932 and 1955 from a design by Suzanne Belperron.
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 Certificate of Authenticity No. B39610152012 from Belperron, LLC. stating that the brooch was manufactured in Paris between 1932 and 1955 from a design by Suzanne Belperron.

The jewelry of Suzanne Belperron has experienced a recent surge in visibility, beginning with the sale of the Jewels of the Duchess of Windsor sold at Sotheby’s Geneva in 1987. In the years preceding this sale, knowing how to recognize a Belperron jewel was a bit like being part of an exclusive club. During her lifetime, Madame Belperron was intensely private and never signed her work, preferring her designs to speak for themselves. When Belperron was asked to explain this choice, she infamously answered, “My style is my signature.” The Belperron style is sculptural and abstract, deriving inspiration from nature and world travel. Rather than following the trends of the time, Belperron created her own interpretation of modernity, utilizing unique combinations of materials and gemstones to create one-of-a-kind, bespoke pieces of jewelry. Belperron’s unwavering commitment to her individual design principles helped her to acquire a loyal clientele that included Hollywood stars, royalty, artists and designers.

 Among Suzanne Belperron’s clients were two other notable women of taste and style, Elsa Schiaparelli and Diana Vreeland. Belperron’s avant-garde designs appealed to Diana Vreeland, who summed up style by stating that “all who have it share one thing: originality.” Throughout the 1930s both women elevated Belperron’s public profile by featuring her jewelry alongside couture fashions in both American and French Vogue as well as Harper’s Bazaar. In 1933 American Vogue featured Elsa Schiaparelli modeling Belperron jewels in a spread titled “Incredible Accessories.” In the accompanying article, Schiaparelli praises Belperron jewelry as “the new theme in jewels.” This “new” jewelry was a complement to the chic modernity of the current fashions; the pieces were bold, but never overpowered the wearer.

 The brooch pictured here recalls the iconic blue chalcedony demi-parure made for the Duchess of Windsor, a woman whose iconic personal style and love of jewelry is still celebrated today. This piece, like the Duchess’ chalcedony brooch pictured in the accompanying Cecil Beaton photograph, epitomizes Belperron’s abstract take on naturalism. The sculptural, articulated petals are meant to capture the “pliant grace of a living flower” while the colors and materials are meant to play with the boundaries of what a “living” flower actually could be. Like Suzanne Belperron’s other designs, this piece is not signed, challenging us to recognize the Belperron signature style. With its playful mix of semi-precious and precious materials and the timelessness of the floral motif, this brooch is as wearable today as it was when it was created. This ability to transcend time and trends is true testament to the continuing legacy of Suzanne Belperron. While fashions may change, true style is eternal.