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SUZANNE BELPERRON
Ribbon" ring
Old-cut diamonds
Platinum (950), 18k (750) white gold
Hallmark Groené &| Darde
Td.: 45 - Pb. : 11.1 g
Accompanied by a certificate of authenticity from Mr. Olivier BAROIN stating that it is a Suzanne Belperron creation from the Mallet-Stevens case circa 1935.
PROVENANCE
Collection of Madame Robert Mallet-Stevens, in the family to this day.
A diamond and gold ring by Suzanne Belperron.
Olivier Baroin certificate
From architecture to avant-garde jewelry:
Modernity and simplicity of form
Avant-garde architect Robert Mallet-Stevens (1886-1945) is one of the most emblematic figures of twentieth-century architecture. Founding president of the Union des Artistes Modernes in 1929, he was a major player in the modern movement.
Born into a family of artists, collectors and art lovers ahead of their time, elegance and refinement were the very foundations of his thinking.
A man of many talents, Robert Mallet-Stevens was in turn an architect-builder, interior decorator, furniture designer, teacher, photographer in the air force during the First World War, then film designer and decorator for some twenty films in the 1920s, including Marcel l'Herbier's famous L'Inhumaine (1924).
In 1925, he gained international recognition at the Exposition internationale des arts décoratifs industriels modernes. In collaboration with other artists of his generation, he designed the hall of a French Embassy and the Tourism Pavilion. For it is in architecture that he excels, rejecting any imitation of the past, in a stripped-down style of pure geometric line. In the words of his granddaughter, "The Mallet-Stevens style, as I lived and loved it, is mainly about simplicity (probably the most difficult), limiting oneself to strictly necessary elements and striving for what he called 'the right taste'".
Along with his contemporaries, Le Corbusier and Auguste Perret, Robert Mallet-Stevens rethought architecture, wishing to adapt it
to the demands of his time. He was entrusted with the construction of several emblematic villas. The unfinished Villa Paul Poiret
unfinished, then the Villa du Comte de Noailles in Hyères in 1925, for which he called on all the great names of his time
Eileen Gray, Francis Jourdain, Djo-Bourgeois, Charlotte Perriand, Sonia Delaunay, Pierre Chareau, Jean Prouvé and others.
rue Mallet-Stevens in Auteuil in 1927. The Villa Cavrois was his masterpiece.
Robert Mallet-Stevens met Andrée Rose Guggenheim (1891-1978) in 1921.
grandmother, who was "beautiful, kind, adorable and gifted at being happy".
The close-knit couple lived the avant-garde life of the Roaring Twenties. This period of intense social and cultural
This period of intense social and cultural activity between the wars revolutionized all artistic fields. The exploration of new aesthetics, more geometric and functional, and of new materials, was found in the decorative arts as much as in architecture, fashion and jewelry. "Mallet-Stevens wanted to draw everything. Not only the cubist boxes for his wife's handbags, but also her nightgowns, book labels, jewelry with the Templier goldsmith, cigarette cases, including the design of his own stationery.
From Architecture to Avant-Garde Jewellery:
Modernity and Simplicity of Forms
An avant-garde architect, Robert Mallet-Stevens (1886-1945) is one of the emblematic figures of 20th-century architecture.
Founding president of the Union of Modern Artists in 1929, he was a major player in the modern movement.
Born into a family of artists, collectors, and art lovers ahead of their time, elegance and refinement were the very foundations of his thinking. A man of many talents, Robert Mallet-Stevens was successively an architect, interior decorator, furniture designer, teacher, photographer in aviation during the First World War, then a set designer and decorator for about twenty films in the 1920s, including the famous film L'Inhumaine by Marcel l'Herbier (1924). In 1925, the International Exhibition of Decorative and Industrial Arts allowed him to gain international recognition. In collaboration with other artists of his generation, he designed the hall of a French Embassy and the Pavilion of Tourism. It was in architecture
where he excelled, rejecting any imitation of the past, in a stripped-down style with pure geometric lines. According to his
granddaughter, "the Mallet-Stevens style, as I experienced and loved it, is mainly about making thi
Ribbon" ring
Old-cut diamonds
Platinum (950), 18k (750) white gold
Hallmark Groené &| Darde
Td.: 45 - Pb. : 11.1 g
Accompanied by a certificate of authenticity from Mr. Olivier BAROIN stating that it is a Suzanne Belperron creation from the Mallet-Stevens case circa 1935.
PROVENANCE
Collection of Madame Robert Mallet-Stevens, in the family to this day.
A diamond and gold ring by Suzanne Belperron.
Olivier Baroin certificate
From architecture to avant-garde jewelry:
Modernity and simplicity of form
Avant-garde architect Robert Mallet-Stevens (1886-1945) is one of the most emblematic figures of twentieth-century architecture. Founding president of the Union des Artistes Modernes in 1929, he was a major player in the modern movement.
Born into a family of artists, collectors and art lovers ahead of their time, elegance and refinement were the very foundations of his thinking.
A man of many talents, Robert Mallet-Stevens was in turn an architect-builder, interior decorator, furniture designer, teacher, photographer in the air force during the First World War, then film designer and decorator for some twenty films in the 1920s, including Marcel l'Herbier's famous L'Inhumaine (1924).
In 1925, he gained international recognition at the Exposition internationale des arts décoratifs industriels modernes. In collaboration with other artists of his generation, he designed the hall of a French Embassy and the Tourism Pavilion. For it is in architecture that he excels, rejecting any imitation of the past, in a stripped-down style of pure geometric line. In the words of his granddaughter, "The Mallet-Stevens style, as I lived and loved it, is mainly about simplicity (probably the most difficult), limiting oneself to strictly necessary elements and striving for what he called 'the right taste'".
Along with his contemporaries, Le Corbusier and Auguste Perret, Robert Mallet-Stevens rethought architecture, wishing to adapt it
to the demands of his time. He was entrusted with the construction of several emblematic villas. The unfinished Villa Paul Poiret
unfinished, then the Villa du Comte de Noailles in Hyères in 1925, for which he called on all the great names of his time
Eileen Gray, Francis Jourdain, Djo-Bourgeois, Charlotte Perriand, Sonia Delaunay, Pierre Chareau, Jean Prouvé and others.
rue Mallet-Stevens in Auteuil in 1927. The Villa Cavrois was his masterpiece.
Robert Mallet-Stevens met Andrée Rose Guggenheim (1891-1978) in 1921.
grandmother, who was "beautiful, kind, adorable and gifted at being happy".
The close-knit couple lived the avant-garde life of the Roaring Twenties. This period of intense social and cultural
This period of intense social and cultural activity between the wars revolutionized all artistic fields. The exploration of new aesthetics, more geometric and functional, and of new materials, was found in the decorative arts as much as in architecture, fashion and jewelry. "Mallet-Stevens wanted to draw everything. Not only the cubist boxes for his wife's handbags, but also her nightgowns, book labels, jewelry with the Templier goldsmith, cigarette cases, including the design of his own stationery.
From Architecture to Avant-Garde Jewellery:
Modernity and Simplicity of Forms
An avant-garde architect, Robert Mallet-Stevens (1886-1945) is one of the emblematic figures of 20th-century architecture.
Founding president of the Union of Modern Artists in 1929, he was a major player in the modern movement.
Born into a family of artists, collectors, and art lovers ahead of their time, elegance and refinement were the very foundations of his thinking. A man of many talents, Robert Mallet-Stevens was successively an architect, interior decorator, furniture designer, teacher, photographer in aviation during the First World War, then a set designer and decorator for about twenty films in the 1920s, including the famous film L'Inhumaine by Marcel l'Herbier (1924). In 1925, the International Exhibition of Decorative and Industrial Arts allowed him to gain international recognition. In collaboration with other artists of his generation, he designed the hall of a French Embassy and the Pavilion of Tourism. It was in architecture
where he excelled, rejecting any imitation of the past, in a stripped-down style with pure geometric lines. According to his
granddaughter, "the Mallet-Stevens style, as I experienced and loved it, is mainly about making thi
Une personnalité, un caractère... Une figure emblématique du monde de la joaillerie moderne Premier prix de l'École des Beauxarts de Besançon en 1918, Suzanne Belperron débute dès 1919 sa brillante carrière aux côtés de Jeanne Boivin qui l'engage au poste de dessinatrice modéliste. En mars 1932, lasse de voir son image se refléter dans le miroir du défunt René Boivin, Madame Belperron alors codirectrice de la Maison depuis bientôt dix ans, démissionne laissant derrière elle, une empreinte inaltérable. Bernard Herz, grand négociant en perles fines et pierres précieuses, qui lui a proposé de prendre les rênes de sa société va lui permettre de s'épanouir en toute liberté. Suzanne Belperron va désormais compter parmi les créatrices les plus en vogue des folles années 30. Ses modèles révolutionnent le monde de la parure | ses matières, ses volumes, ses créations effleurent parfois la démesure, tant sur un plan artistique que sculptural. Même si le bijou se veut parfois un peu exubérant, il n'en demeure pas moins élégant. Sa créativité n'outrepasse jamais la limite du bon goût : là est la clef du mystère Belperron. L'oeuvre de Suzanne Belperron est singulière. Elle se traduit par des bijoux certes graphiques et purs, mais surtout sensuels pour ne pas dire charnels. Une clientèle prestigieuse la sollicite comme en témoignent ses carnets de commandes qui répertorient familles royales, aristocrates, banquiers ou étoiles du cinéma... Aux quatre coins du monde, on s'émerveille devant les parures imaginées pour la duchesse de Windsor, la bégum Aga Khan, la maharani de Baroda, la baronne de Rothschild, Elsa Schiaparelli, Nina Ricci, Daisy Fellowes, Ganna Walska ou Merle Oberon... Contrairement à la plupart des grands joailliers, Suzanne Belperron ne signa jamais ses bijoux. Dotée d'une forte personnalité, l'artiste avait pour seul adage «mon style est ma signature». Son oeuvre inspire d'ailleurs, encore aujourd'hui, grand nombre d'entre eux. Olivier Baroin