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You are not a client but would like to have more information about Societe Generale Private Banking? Please fill in the form below.

Local contacts

France: +33 (0)1 53 43 87 00 (9am - 6pm)
Luxembourg: +352 47 93 11 1 (8:30am - 5:30pm)
Monaco: +377 97 97 58 00 (9/12am - 2/5pm)
Switzerland: Geneva +41 22 819 02 02
& Zurich +41 44 218 56 11 (8:30am - 5:30pm)

You would like to contact us about the protection of your personal data?

Please contact the Data Protection Officer of Societe Generale Private Banking France by sending an email to the following address:

Please contact the Data Protection Officer of Societe Generale Luxembourg by sending an email to the following address:

For customers residing in Italy, please contact BDO, the external provider in charge of Data Protection, by sending an email to the following address:

Please contact the Data Protection Officer of Societe Generale Private Banking Monaco by sending an email to the following address:

Please contact the Data Protection Officer of Societe Generale Private Banking Switzerland by sending an email to the following address :

You need to make a claim?

Societe Generale Private Banking aims to provide you with the best possible quality of service. However, difficulties may sometimes arise in the operation of your account or in the use of the services made available to you.

Your private banker  is your privileged contact to receive and process your claim.

 If you disagree with or do not get a response from your advisor, you can send your claim to the direction  of Societe Generale Private Banking France by email to the following address: or by mail to: 

Société Générale Private Banking France
29 boulevard Haussmann CS 614
75421 Paris Cedex 9

Societe Generale Private Banking France undertakes to acknowledge receipt of your claim within 10 (ten) working days from the date it is sent and to provide you with a response within 2 (two) months from the same date. If we are unable to meet this 2 (two) month deadline, you will be informed by letter.

In the event of disagreement with the bank  or of a lack of response from us within 2 (two) months of sending your first written claim, or within 15 (fifteen) working days for a claim about a payment service, you may refer the matter free of charge, depending on the nature of your claim, to:  


The Consumer Ombudsman at the FBF

The Consumer Ombudsman at the Fédération Bancaire Française (FBF – French Banking Federation) is competent for disputes relating to services provided and contracts concluded in the field of banking operations (e.g. management of deposit accounts, credit operations, payment services etc.), investment services, financial instruments and savings products, as well as the marketing of insurance contracts.

The FBF Ombudsman will reply directly to you within 90 (ninety) days from the date on which she/he receives all the documents on which the request is based. In the event of a complex dispute, this period may be extended. The FBF Ombudsman will formulate a reasoned position and submit it to both parties for approval.

The FBF Ombudsman can be contacted on the following website: or by mail at:

Le Médiateur de la Fédération Bancaire Française
CS 151
75422 Paris CEDEX 09


The Ombudsman of the AMF

The Ombudsman of the Autorité des Marchés Financiers (AMF - French Financial Markets Authority) is also competent for disputes relating to investment services, financial instruments and financial savings products.

For this type of dispute, as a consumer customer, you have therefore a choice between the FBF Ombudsman and the AMF Ombudsman. Once you have chosen one of these two ombudsmen, you can no longer refer the same dispute to the other ombudsman.

The AMF Ombudsman can be contacted on the AMF website: or by mail at:

Médiateur de l'AMF, Autorité des Marchés Financiers
17 place de la Bourse
75082 PARIS CEDEX 02

The Insurance Ombudsman

The Insurance Ombudsman is competent for disputes concerning the subscription, application or interpretation of insurance contracts.

The Insurance Ombudsman can be contacted using the contact details that must be mentioned in your insurance contract.

To ensure that your requests are handled effectively, any claim addressed to Societe Generale Luxembourg should be sent to:

Private banking Claims department
11, Avenue Emile Reuter
L-2420 Luxembourg

Or by email to and for customers residing in Italy at

The Bank will acknowledge your request within 10 working days and provide a response to your claim within 30 working days of receipt. If your request requires additional processing time (e.g. if it involves complex research), the Bank will inform you of this situation within the same 30-working day timeframe.

In the event that the response you receive does not meet your expectations, we suggest the following:

Initially, you may wish to contact the Societe Generale Luxembourg Division responsible for handling claims, at the following address:

Corporate Secretariat of Societe Generale Luxembourg
11, Avenue Emile Reuter
L-2420 Luxembourg

If the response from the Division responsible for claims does not resolve the claim, you may wish to contact Societe Generale Luxembourg's supervisory authority, the “Commission de Surveillance du Secteur Financier”/“CSSF” (Luxembourg Financial Sector Supervisory Commission):

By mail: 283, Route d’Arlon L-1150 Luxembourg
By email:

Any claim addressed to Societe Generale Private Banking Monaco should be sent by e-mail to the following address: or by mail to our dedicated department: 

Societe Generale Private Banking Monaco
Middle Office – Service Réclamation 
11 avenue de Grande Bretagne
98000 Monaco

The Bank will acknowledge your request within 2 working days after receipt and provide a response to your claim within a maximum of 30 working days of receipt. If your request requires additional processing time (e.g. if it involves complex researches…), the Bank will inform you of this situation within the same 30-working day timeframe. 

In the event that the response you receive does not meet your expectations, we suggest to contact the Societe Generale Private Banking Direction that handles the claims by mail at the following address: 

Societe Generale Private Banking Monaco
Secrétariat Général
11 avenue de Grande Bretagne 
98000 Monaco

Any claim addressed to the Bank can be sent by email to:

Clients may also contact the Swiss Banking Ombudsman:


On the art of art appraising

How to appraise works of art and collectibles? What are the steps, the criteria?  Three experts from Christie's France unveil the workings of these estimates and present a few concrete cases. Interview conducted by Laurent Issaurat, Head of Art Banking for our private bank.

How is appraising works of art at the heart of the business of an auction house like Christie’s ?

Emilie Villette: The request for an estimate is an essential stage in our activity, symbolising the heart of our business: mobilising our technical expertise, our knowledge of the market and our passion for works of art and collectors' items at the service of our interlocutors, regardless of their degree of experience in the various artistic categories.

For many clients, this stage is the first point of contact with our company and represents a privileged moment in an exchange that sometimes extends over several years, decades and even generations. Most frequently, we are solicited by individuals, confirmed collectors or not, families or their advice, about a work of art or several objects they own or have inherited. They ask us questions in the context of a sale project, before or after a transmission or in the context of a wider heritage reflection. Our house then provides a short description of the item and an estimate (low and high value range). This first opinion can be provided in the form of a photograph before being refined, if necessary, after a visual study of the object at its owner’s home, in a bank safety deposit box, in a warehouse or in our offices.

What are the steps in the estimating process at Christie’s ?

Emilie Villette: Several steps are involved in the estimation process. When clients contacts us whether by email, telephone or in person at one of our forty-six international offices, their request is handled by the expertise department corresponding to the type of work or object they are presenting to us. Christie's has specialists in more than eighty different artistic specialities: from contemporary paintings to design, from photography to classical decorative arts or collector's watches. The latter study the piece and, if necessary, request additional information, such as the date and place of acquisition or any known information about its provenance (i.e. the chain of its previous owners). Once they have received these elements, they may be led to carry out further research and compare their points of view collegially.

In some cases, when the typology of the item and/or its value invite them to do so, our specialists seek the advice of their counterparts in our international offices, each bringing with them specific knowledge of their local market and the tastes of buyers in their region. For example, to determine the valuation of a work by the famous Franco-Chinese painter Zao Wou-Ki, much sought-after by Asian collectors today, the Paris team works in concert with the Hong Kong team. Indeed, it is the strength of an international firm to be able to combine expertise on the same work across continents in order to remain as close as possible to the market and the demand of buyers around the world.

Are the estimates made by a house like Christie's confidential? Do they have a cost?

Emilie Villette: In our house, estimates are done free of charge and without obligation. In addition, they are strictly confidential. Discretion is at the heart of the relationship with the families we accompany in their projects of estimates, acquisitions or cessions of works of art and collectibles.

Does the lower end of the range necessarily correspond to the 'reserve price' in the context of a sale?

Emilie Villette: In case of sale, the reserve price, strictly confidential between the owner(s) of the work and the auction house, represents the minimum price below which it will not be awarded. The law requires that the reserve price cannot be higher than the low estimate. It may be fixed by mutual agreement below the low estimate. In the majority of cases, we suggest that the reserve price be set at the low estimate, and that, if necessary, the day before the sale be discussed again depending on the interest in the work.

What are the fundamental factors that determine the value of an object?

Emilie Villette: First of all, be careful not to confuse "value" and "price" of a work of art. Indeed, it is important to keep in mind that what we are talking about in the context of a sales house is the "value on the second market", i.e. the resale price. Beyond this price, an object may have an emotional, historical, symbolic value -decorrelated from its financial value. Works of art are by nature unique objects and a number of criteria must be considered in order to be able to value them: quality, rarity, suitability for current tastes, "freshness", state of preservation and provenance. It is basically a question of being able to give an opinion on the desirability of the item in a market that has become increasingly selective.

Quality and rarity are assessed on the basis of each item’s own characteristics: notoriety of its author, authenticity, dating, subject represented, technique used, format, ... In accordance, beyond the prestige of the name of the artist, the market favours the best of his or her production, which is sought after by collectors. But more subjective criteria are also taken into account. The evolution of taste and lifestyles, the trends and certain fashion effects can have a direct influence on the price of a work. As does the ecosystem surrounding the artist: who collects it, who defends it on the market, is he or she represented in the collections of major museums, etc.? The notion of "freshness" is also important. If a work is a (re)discovery, offered for the first time at auction, or if it has remained off the market for several decades, it will be all the more desirable. On the other hand, when a work reappears too quickly at public auction, it may be discounted or even not sold at all. This risk can also affect works in a poor state of conservation. Finally, by provenance or pedigree, we mean the chronology of the object's ownership, but also its presence at important exhibitions or its mention in reference publications. Works from prestigious or historical collections thus have a kind of extra soul that has a positive impact on their value.

Do you use market comparables to establish your estimates?

Emilie Villette: With the development of new technologies and online databases, market comparables are now an integral part of the work appraisal process. However, it is necessary to keep in mind that, in order to be exploited, these comparables must be interpreted by our specialists and put into context. Estimating the value of a work of art is not an exact science.

Examples of significant revisions in value

Hélène Rihal: In my field, that of ancient art (1400-1900), changes of attributions are frequent. The work of art may have lost its authorship over the centuries, especially when it concerns ancient drawings that are rarely signed, considered most of the time by the artist as a sketch, an idea, before the final project on canvas or panel. Our job is thus to try to give it back a name, which will increase - sometimes considerably -its value.

 In our last sale of Ancient and 19th Century Drawings in May 2020, we presented an « Etude de Crocodile entre les roseaux » which we were able to attribute to François Boucher. When the drawing arrived at Christie's, the owner did not know the artist's name. The style, the technique of the sanguine and the paper evoked an 18th century French drawing. Our investigative work then began... Who could have drawn such exotic animals in France between 1700 and 1750? Answer: the artists who took part in the project to decorate the Palace of Versailles on the theme of Exotic Hunting at the request of King Louis XV.

All that remained for us to do was to study the work of the various painters and discover that our crocodile was a preparatory drawing for the painting of the « Chasse au crocodile » (« Crocodile Hunt »), painted in 1739 by François Boucher and now kept in the Picardie Museum in Amiens. Ultimate step: to submit our attribution to the art historian, a great specialist of the artist in question, whose opinion is an authority on the market which, in this case, confirmed it.

Thus, from an anonymous 18th century drawing estimated at EUR 5,000-7,000, we moved on to a sheet by François Boucher revalued at EUR 10,000-15,000, a very reasonable and attractive estimate, to arrive at a final result of EUR 60,000 (including costs) on the day of the sale. A nice added value for its owner thanks to the research work of our team who are constantly looking for the right allocation.

Image: © Christie’s Images Limited 


Mafalda Chenu: Now here is a second example in a completely different field: that of jewellery. Coming from a private collection, it is with an initial estimate of EUR 20,000-30,000 , that this updated enamel Art Nouveau brooch was to go on sale. The fineness of the enamel, its delicate polychromy and the work of articulation of the wings set "en trembleuse" have however caught our attention. It is while looking for who could be at the origin of such a refined piece that we discovered the design of a similar brooch in a book featuring the house of Boucheron. We therefore got closer to their teams and obtained the long-awaited confirmation. The cicada was indeed a work of Boucheron, which then published a certificate for the brooch and provided some additional information. The cicada entrusted to us was one of the seven rare examples made in the 1900s. The estimate raised to EUR 50,000-80,000 , and was finally largely exceeded to reach a result of 355,500 in November 2018.

Image: © Christie’s Images Limited 

Change in the value of the objects over time: a few examples

Emilie Villette: The value of objects is necessarily moving in time and space according to the evolution of taste and lifestyles or, in the shorter term, the trends and certain fashion effects. This is a very fundamental point. In a very general way, everyone has been able to observe the rise of modern and contemporary creation to the detriment of more classical art forms.

Mafalda Chenu: To give you two concrete examples, let's continue in my field, that of jewellery. The current market is particularly fond of vintage signed pieces. Prices have risen very significantly for jewellery signed by the Place Vendôme jewellers. This phenomenon has increased tenfold for pieces from the Art Deco period, which have certainly been appreciated for a long time but which prices have continued to rise, such as this rare necklace made by Van Cleef & Arpels, sold for CHF 465,500 at Christie's in 1998, and resold by our company for CHF 4,332,500 twenty years later in 2018. Certain periods abandoned a few years ago are today particularly sought after, such as pieces from the 1970s. As an example, we can quote this long necklace in coral and amethysts made by Van Cleef & Arpels sold for EUR 8,225 in 2002, which pendant in chrysoprase and coral sold for 37,500  in 2019.

Images: © Christie’s Images Limited

Laurent Issaurat