Article: Odeon Collection
Odeon Collection
We chose the unreasonable life.
In 2014, we decided we would rather hunt than behave. Sensible careers were available. We declined them.
Ben was raised in Strasbourg and came of age inside New York’s estate salons, where the doors are heavy and judgments are quiet. Hugo grew up with gold dust in the air — a grandfather in Nice immersed in Art Deco before nostalgia had a market, a father trained at the Scuola Benvenuto Cellini in Italy, a bench, a loupe, an eye that required little instruction. Some things are learned. Others are recognized.
Odeon does not resemble the market because it was never built for it.
Our clients are the finest jewelry stores in the world, collectors, and dealers who understand that the best pieces are rarely the ones on display. They come to us for what isn't listed anywhere else.
There is no buying for volume. No seasons. No trends. We look for pieces that hold their ground — a French poinçon pressed into gold in 1940s Paris, an Italian bracelet from the 1970s engineered so precisely it feels inevitable, an American jewel with a clasp that closes like a vault and a presence that alters the air in a room. If it does not stop us, we leave it behind.
Excellence is quiet. Refinement is discipline.
Every piece is chosen the same way — slowly, carefully, by eye and by hand. Some are discovered on Fifth Avenue. Others find their way here. There is no difference in how they are selected.
Whether you encounter a piece online or across the counter, the invitation is the same: look closely. Jewelry reveals itself in the details.
When you visit, ask about the mark inside the shank, the construction of a clasp, the decade a piece belongs to. We’ll take out the loupe and look at it properly.
We're glad you're here. Come as you are. Leave with something extraordinary.
Benjamin Sberro French. Forged by New York's estate trade. Was in media once — it taught him how stories travel. Jewelry taught him what lasts.
Hugo Foutermann Third generation. Nice. His grandfather called it — Art Deco, always. Hugo has spent thirty years making sure he's proven right.
