Jewelry History

At Auction: Iconoclastic 20th Century Jewels

From the collections of legendary women of style

by Marion Fasel

November 25, 2024—The first jewelry history book I read when I began my career decades ago was Cartier: Jewelers Extraordinary by Hans Nadelhoffer. I chose it from the office library because it was dedicated to Ralph Esmerian, the man I worked for. On the cover of the landmark publication is a shoulder tassel brooch made in 1914 and inspired by Indian turban ornaments. The piece also has design elements of the garland style while alluding to the exoticism to come in the Art Deco era.

In the late 20th century, the Cartier masterwork was worn out and about in New York City by Mica Ertegun, whose jewels are among the iconoclastic pieces from the collections of legendary women of style being offered in the Magnificent Jewelry sales at Christie’s on December 10 and Sotheby’s on December 11.

A celebrated interior designer and philanthropist, Mica, and her husband, Ahmet Ertegun, who was one of the legendary founders of Atlantic Records, were called “the virtual definition of sophistication” by Vanity Fair editor James Reginato in a 2017 profile story.

Fixtures on the social scene around the world and at their home base in New York City, the Erteguns were a favorite subject of society photographers, including famed paparazzo Ron Galella.

With her social clout and celebrated style, Mrs. Ertegun’s patronage meant something. There is no doubt her decision to commission a piece from JAR, during the early years of the designer Joel Arthur Rosenthal’s career, contributed to the success of the collection with the in-crowd.

Mica’s bold JAR ruby torsade necklace, made around 1986, which was wrapped in delicate diamond and platinum X’s was unforgettable. She clearly loved the jewel and was photographed wearing it several times over the years.  

Mica’s JAR jewel was featured in the designer’s celebrated 2002 exhibition at London’s Somerset House, The Jewels of JAR, Paris. The bold piece was also illustrated in the giant collectible 2002 book JAR Paris Volume Is (Art Books International).

Interestingly, it is noted in the Christie’s description that Mica brought the massive collection of ruby beads she had acquired in India to JAR. I don’t believe this fact appeared in the exhibition or book. It seems to suggest the tastemaker had a hand in the creation of the supersized design.

Of all the stylish women who have defined New York over the past 100 years, fashion editor Diana Vreeland ranks high on the list. Throughout her life, her precise look was defined by a few bold jewels that set off her jet black hair, red lips and long red nails. She had Verdura Maltese cross brooches in her jewelry box. There was the white enamel and gold Bulgari snake belt she wore as a necklace wrapped around her throat.

Vreeland also owned an extraordinary ‘Facetté’ cuff designed by Suzanne Belperron. The piece, made around 1934, features a combination of diamonds, rock crystal and silver. While the metal may seem surprising, it was most likely chosen not only for cost savings, but also for weight. A platinum cuff of this size would have been very heavy. 

One of the most imaginative and original designers of the 20^th century, Belperron’s work is generally defined by organic rounded shapes and bulbous forms. She did make some geometric pieces but the ‘Facetté’ cuff, which seems to be one-of-a-kind, commits to the sharp edges in a way that isn’t seen in most of her work. It links back to designs she had done at the École des Beaux-Arts, but doesn’t turn up too often later.

This fact raises the question of whether Vreeland was involved in the design in any way. While Belperron was notoriously particular about her designs-and not known to collaborate-she may have been open to hearing Vreeland’s thoughts (and only Vreeland’s thoughts) on her work. It is possible Vreeland wanted something large in scale and geometric, ideas which began the design process.

The Belperron cuff, which was worn by Kirsten Dunst at the 2005 Oscar ceremony became part of the private collection being sold at Christie’s. It includes 15 pieces by the influential French designer. Among them are three jewels from Belperron’s personal collection.

These include her bold multi-gem ‘charm’ bracelet made around 1935. A palladium and platinum open cuff set with old and cushion diamonds made around 1955; it is like the prototype to the style that has become a luxurious essential in the contemporary Belperron collection. And there is Belperron’s own smoky quartz ring set with yellow diamonds. A tiny size 4, it was most likely worn on the pinky finger, making the dramatic design even more of a statement.

In Sotheby’s Magnificent Jewels auction, there are a couple of pieces that come by direct descent from the family of Millicent Rogers. Another wildly original style icon, the jewels of the Standard Oil heiress that have passed through the public marketplace are the stuff of legend.

Her Flato ruby heart, made in the 1930s, is one of her most well-known pieces. The unique design features the Latin phrase ‘Verbum Carro’ emblazoned in gold letters on a sapphire banner. Exactly what it means and who gave it to her is a bit of a mystery.

Millicent’s Boivin starfish brooch, one of a small series of four or six (no one is sure exactly), has been a subject of great fascination. A book was written about them and one is part of the collection of the Boston Museum of Fine Arts.

The Boivin flower brooch at Sotheby’s shows Rogers was a regular shopper at the French jeweler. Made in 1937, the piece is part of the return to naturalism that occurred in response to the geometry and the Art Deco era.

The ruby and diamond brooch which measures approximately 2⅜ x 1¾ inches was undoubtedly styled by Millicent in some wonderfully original way. Hopefully, we will learn more about the piece when it is featured in the René Boivin Joaillier book by Thomas Torroni Levene and Juliet de la Rochefoucauld to be published by the Antique Collector’s Club in 2026.

Like Diana Vreeland and Mica Ertegun, Millicent Rogers had Belperron jewelry in her collection. It’s a stunning testament to the designer’s talent that endures to this day.

The Belperron earrings Rogers owned feature an inverted mirror design of pear-shape and cabochon sapphires and rubies. They look as modern today as the moment when they were made in 1939.

Overall, the assemblages of these iconoclastic jewels by women who blazed their own trails are stunning examples of jewelry’s individuality and artistry.

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